I’ve had no luck doing the photopolymer plates, neither at London Print Studio or that place in Brixton so I’m giving it up for a while. Next Sunday I’m going to Slaughterhouse Print studio to do some monoprinting – I’m looking forward to it a lot, it will hopefully get me out of a rut I’m in.
One good thing came out of this week is that I finally managed after a very long time, to get a selection of my work online at zyarts.com/gandhakey
and more importantly I got some work teaching online – my first venture into virtual lessons and I did some research into how to use a webcam, very useful if you want a good presence on the screen. Also bought some make up to look a bit more colourful!
March 2019: I have done two workshops this month: One at London Print Studio on Drypoint – we used very thin plastic mounted on card. When I tried to mount my own plate on card it did not stick so I won’t be using this method. However it was a useful workshop and I will be going there this week to get some training in photopolymer – I have forgotten the process.
ezeeprint: I am using this company to process my acetates. I sent off the originals yesterday. I have sent off two images and I have prepared another one for the photopolymer process. Part of my Family Album Series.
I also did a workshop at Bainbridge Studios on photopolymer, mainly to check out their facilities, but their photo plate unit is too difficult and cumbersome to use, I don’t feel confident using it which is why I will be going for training at London Print Studio and then using their open access facilities to make new plates and print.
We went to the wonderful John Ruskin exhibition at 2 Temple Place – what a wonderful building – gothic, wooden staircases, mouldings, etc. The exhibition showed a selection of Ruskin’s paintings as well as unusual objects that he collected including a giant swallow wing and stones. The windows are stained glass in the main hall.
I am inspired by traditional methods of woodcut mark making so I am going to have a go at a suite of images of my local woodland, using woodcuts and lino cuts and drypoints – to see how the different methods work. At the current time, the trees are leafless and the ground is dark so I will have to look for details carefully.
I am inspired by this image by a Chinese woodcut artist. Such fine details and beautiful subtle colours
Went for a walk on Hampstead Heath today, it was sunny and the mist was rising from the wet grasses. I love this place, just a bus ride or quick cycle ride from our house in north London. This winter has been mild, no snow yet. Lots of places to draw. Drawing: I am going to spend my holiday doing some mark making with wet and dry materials and I am going to be doing a new Hopper wood cut.
Also in the New Year I will be going to do some printmaking at London Print Studio: photopolymer and photocopy etching and also using the studio for open access next year for etching type prints including dry point and monotype.
this was my second attempt at a card, I did not have any ideas. This is a double woodcut printed in two colours. I went online to do some research into mark making and came up with these nice trees. Everyone really likes this card.
Subs and I went to Walthamstow Wetlands today It’s a wonderful place for a mid week wander around the lakes/reservoirs, listen to the birds and see the mummy squirrel carrying her baby across the grass! Then you can go for a lovely lunch in the Engine House. There are many types of birds, swans, coots, geese.
Our birth is but a sleep and a forgetting: The Soul that rises with us, our life’s Star, Hath had elsewhere its setting, And cometh from afar
From a Wordsworth poem. I am researching William Wordsworth as part of my studies and research into landscape and to get inspiration for my printmaking. This course starts in September and has its own page above.
One of my favourite artists, a man who is very controversial but who dives deep into the soul of his country. Quote from A Beginners Guide
Although informed by history, Kiefer is more an artist of memory – private and public, personal and political. His paintings are packed with references to myth and poetry. Art critic Robert Hughes described Kiefer’s work as centring on two questions: “What can I remember?” and “What should I remember?” Kathleen Soriano, who has curated the RA’s exhibition, says Kiefer’s work is “as much about the present as it is about the past”. This is exemplified in paintings such as Interior (1981), which depicts a room in the New Reich Chancellery, designed by Hitler’s favourite architect, Albert Speer. The building had been destroyed immediately after the war, but Kiefer chooses to depict the moment of ruination itself. The result, writes Martin Gayford in RA Magazine, is a painting of “spectral, sinister magnificence”.
Incorporating materials such as concrete, straw, ash and shellac, Kiefer’s works often decay with age, and the artist embraces this loss of control. Embodying this mutability is lead, which alchemists once believed could be turned into gold. Books – often with wings – have been a repeated motif since the late 1960s and represent, for Kiefer, important repositories of learning, religion, culture. Many of these book sculptures are made of lead, which Kiefer first used to mend his plumbing in the 1970s. He has subsequently described it as “the only material heavy enough to carry the weight of human history”.
Subs and I went to the Private View of the exhibition where I was showing my lino print. It was at the Arts Depot in Finchley, a lovely venue a really great art gallery. There were lots of people there and the wine was flowing, nice food too.
This was my third exhibition since I started printmaking again.
16 July 2018: I delivered my print to Trowbridge on Monday.
The Tree That Wanted to Fly: Return to Earth. Collograph
it was a long and tiring journey with so many delays but I got there in the end. My print looks lovely, I am very pleased I did it. I had fish and chips at the Codfather near the church! Lovely meal after a long journey. I was a bit panicked as to getting back in time for my connections so I didn’t have time to look around the town and anyway it was too hot.
The Town Hall where the exhibition is being held in August 2018
Waiting for my fish and chips outside the church at The Codfather!
Thanks to my new wall mounted shelves I can now print without hanging the prints on a line of string! This print is for the Arts Depot exhibition – I’m printing on Japanese Kozo Natural paper white and also some fine lightweight biscuit coloured paper from Cornelissons but I didn’t get the name unfortunately – I must check that out.