My last post talked about creative play as an essential part of the artistic process. I don’t have much to add to that, other than to post some examples of outcomes. These are the vertical panoramas I referred to in that post. Several are in the shop already, but the full set so far are posted below. I’m sure there will be more while I have problems working in my studio.
I find also that playing digitally is a source of inspiration for the inky fingers type of printmaking. I can try out broad compositions very quickly and ‘back out’ of them equally quickly if they don’t work. Digital files also provide useful sources for stencils. I cut these from Mylar with a digital cutter. The model I use is a Cricut Maker, but there are several other brands
I took the decision to issue these as limited editions. This is something I still don’t feel entirely happy with, especially given the nature of digital images, but it seems to be expected by buyers. I do however print all my own work. No one else is involved. Please let me know what you think about the issue in the comments.
For me setting aside time for play is a key part of creativity. It’s a way to get past my inner censor. It allows me to fail. That’s important because without failure there is no measure of success.
It’s almost a month since I spent time in my studio. Initially I took a break to think, because I found myself repeating the same thing. The work looked superficially different, but the process was the same, and so less and less enjoyable. Some health issues then intervened, so my time away from the studio became even more protracted.
I’ve already blogged about making digital prints. They are where I came from as a printmaker, so an important part of my practice. Going back to them while not in the studio was still a form of play. It gave me the freedom to think about ideas of shape and form and composition without investing too much time. Or money for that matter, since decent paper is not cheap. In the end, even though I was ‘only playing’ the outcomes were very satisfying, and I ended up with two ‘suites’ of prints. One is a set of square prints which relate quite strongly to the monotypes I have been making all year. The second set are panoramic in format, but oriented vertically. I wanted to avoid any landscape references and make these wholly abstract.
This isn’t the first time I’ve used play to generate work. Back in 2014 I made a set of what I later called Tinies. I was painting then and very bad at judging how much paint to put on my palette. Rather than waste the leftovers I took, as I realised later, what were monotypes from the palette using some heavy mixed media paper I had to hand. Later I cut these down into small squares, each about 25-30 mm on a side. My original intention was to reassemble them into a collage.
I never made any progress, although I did play around with the pieces for a while. I kept the pieces though, then later still, mounted a selection of these to fit into a 6” x 6” frame (150 mm). When I took these to an ‘art boot sale’, to my surprise they sold very well. Many were sold before I decided to number the rest into a series – Tiny 2014.
The next year I acquired a number of pieces of mount board, originally samples of different colours. I used these to make a set of collagraph plates, experimenting with materials like tile cement. Printing these allowed me to play gain, experimenting with colour combinations, trying out the effects of overprinting colours. These became Tiny 2015.
Tiny 2017, was another set of ‘found images’, this time cut from failed monotypes made with oil based inks, while Tiny 2019 was a return to the small collagraph plates. So far there have been no more.
Now though, I’m itching to get back to physical printing. I find it immensely satisfying to see an image gradually emerge out of the clutter of bits of paper, stencils and general rubbish I use to make my monotype prints. How I do that will be covered in another post.
I hope though that I can still retain the freedom from the last few weeks of ‘playtime’.