Residency Week 3 and 4

Sarah Thieret and I have been grafting away 2 or 3 days a week in the Print studio … I’ve been having to make all kinds of short cuts to try and get the work made – my plates were too big to etch in a bath so we made a makeshift plastic sheeting bath that balanced on two chairs…. better than me sealing the plate with tape and pouring the acid in – that was one big mess.

But since my introduction to a disused greenhouse space up the road I finally found the image for my large plate of zinc. To be honest working on a large sheet drawing into it with just a preparitory drawing is pretty nerve racking, but for me it seems to be the best way to end up with a print that has a freshness to it. Otherwize you just copy and dont react to the plate itself.  So the last few weeks I have been working on a plate of the quarry machinery and a large greenhouse.

_MG_2136 107 x 56 cm on tinted Zerkall

IMG_5433 Etched with lines before aquatint Detail

_MG_2144   Blue version

IMG_5461 painting out the plate to add aquatint to just the windows and foliage

The gradation of colour references to 2 large drawings that Bearspace Gallery are showing this March or underwater Deserts.

_MG_2183_MG_2189

Sea Scar and Sea Stair

small plates that I finished to be shown with Metasea shifting the plates and adding chine colle.  Submerged architecture and stairs.

_MG_2177 Chalk Scar 39 x 29 cm

There is an intensity to working on a plate with the time consumming processes of layering the drawing and aquatinting and re aquatinting  it is good to get tham back to the studio for reflection on how to enlarge on some of the ideas and begin to paint again in the disused greenhouse which contains all the elements of decay and dislocation of nature / and our relationship to it that I am interested in.

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