This month I have been drawing using a mashup of print technique:

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screen printed mother and child onto feint proof of Diana Bloomfield’s engravings

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continuing the mother and child motif

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mother, grandmother, child photopolymer and screenprint

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overly complex?

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simple but bonkers? lithograph and screenprint

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Check out the a-n website. It’s a useful source of information for artists on opportunities, advice, insurance, daily rates, arts news, jobs. You can join the network of artists using it to connect, consult and blog about their work. The joining fee is cheap and once a member you can apply for a bursary. That’s what I did. They gave me a travel bursary to fund European networking and I’ve had the most amazing time. Read my blog on their site for more info.. Photo of lovely Kölner Graphikwerkstatt, one of the three remarkable print workshops I’ve visited in Europe over the past six months.

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I’m publishing a pamphlet by Mark Wilsher here because he asks for it to be shared. It relates to research and the earlier post. The pamphlet is titled Semi_Formal.

At the end of this week I’m heading off to a Quaker Meeting House in Somerset for a two day residential retreat modelled on Matthew Burrows’ ABC Projects. Very hard to predict how this will span out but there are four of us and we will each be the focus of consideration for half a day. I’m prepping for it now.

The other three artists are Chitra Merchant, Tina Hill and Caroline Case. All women and near enough the same age. I’ll let you know how we get on.

Working towards a trip to Kölner Graphikwerkstatt. The purpose of this visit is to reconnect with Jutta Vollmer, whom I met at Liverpool’s John Moores Uni through EightDaysAWeek.

Jutta and I began working collaboratively when paired for the project PenPal in 2011 and 2012. Something integral to the partnership rang true.

Thanks to funding from a-n The Artists Information Company we have the opportunity to reconnect. At the time of applying for the funding I wasn’t sure why I felt the need but I’ve since given this a lot of thought.  Take a look at her instagram feed. I have a love hate relationship with the treatment of surfaces – decoration and pattern. I recognise this as an element of my practice needing serious examination. I think I will be able to look into it with Jutta. I’m going to suggest we create double sided drawings or prints and fold them, as a starting point. Also, using layout pads and carbon copy paper, draw sequentially and see what happens. She has a very solid drawing practice.

Here’s a recent record of play to provide visual (screen printed) content:

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Today’s research is documented here.

I came back from Alkmaar with a number of lithographic prints, drawings really, in that each one was unique. They were the subject of a short critique with the wonderful Press Play group at Spike Print Studio. I determined to work on them further.

In my head: box rooms and simple buildings left to rot. Nature reclaims. You lose a thing and you gain a different thing.

The drawings derive from natural forms. I imposed a very simple built form on the drawing by folding it.

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The folded drawing is a folded plane, mathematics. Instead of the back and the front it has interior and an exterior spaces. Exposed / enclosed. Pleats shorten distances: what was rectangular has become square.

To explore the interaction between the drawing and the folds, or drawing with folds, I took an element of the drawing and made 12 small drawings. Random thoughts whilst making the drawings: Laurel and Hardy, other artists who use ladders, bonfires and Glenville, trapeze, ambition, aspiration, so close, coming together, crossing, going nowhere, perspective, pairs and groups.

 

Then I improvised, folding each one in response to the drawings. Some worked and some did not.

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There was one I couldn’t fold.

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I looked to see if I could join any of them together.

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Then I photographed a couple of them inside the folded lithographic print. I was thinking about architecture, architects, explosions, creeping.

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Brain dead, I went to Boots to collect repeat prescription.

On the wonderful Press Play course at Spike Print Studio we have been doing some work on critique: techniques for giving and receiving feedback without pain. Our research included working through the ‘Q-Art’ book edited by Sarah Rowles. Fascinating. (I warmed to certain of the interviewees immediately.) We had a ‘crit’ of the work I brought back from Alkmaar. Am now working on the next stage of development for these lithographic drawings. The session was at Spike, as you can see from this photo.

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