Archive for January, 2016

T1-MMT-P5 Sketchbook update 31-Jan-2016

Sketchbook work is continuing, at least a little each day. As the assignment progresses it’s becoming a satisfying mix of research, ideas, and at last recording my own samples.

p5-sketchpage 034; 20160125

p5-sketchpage 034; 20160125

Some final notes on ideas from previous assignments. The sketch of work of June Schwarcz influenced the design of sample p5-4 (31-Jan-2016) – inept, but with promise. I’d like to follow up this research.

p5-sketchpage 035; 20160127

p5-sketchpage 035; 20160127

I’ve already written about Fiona Hall’s work Slash and Burn (30-Jan-2016). Moving and shocking. Also a great example of contemporary textile work (although Hall uses a very wide range of techniques, materials and influences in her work).

p5-sketchpage 036; 20160128

p5-sketchpage 036; 20160128

I am very excited about Gillian Lowndes’ work and have been trying to track down more images and information. Beautiful and inspiring. On this page I did a line drawing sketch, influenced by my tutor’s suggestion to explore my prints using line drawings. There are also some notes from the videos on the V&A website showing artists commenting on Lowndes’ Cup on base piece. A proper research post will follow.

p5-sketchpage 036 a; 20160129

p5-sketchpage 036 a; 20160129

Using a process taught by Graham Marchant (24-Jan-2016) I traced a photograph of Gillian Lowndes’ Cup on base in preparation for a watercolour. I found it very useful in Graham’s class to work with a single inspiration source for an extended time, really getting to know it and seeing more and more.

p5-sketchpage 036 b; 20160129

p5-sketchpage 036 b; 20160129

I spent a couple of days on the actual watercolour. I got mixed up in the layers of clay, my lights and darks muddled so the effect is lost. On the other hand there are some parts that work – for example the corner of the top layer.

p5-sketchpage 037; 20160129

p5-sketchpage 037; 20160129

A little more on Gillian Lowndes. Some desperate calculations when working on p5-5, and a sketch of the sample itself, trying to capture the frenzy.

T1-MMT-P5 Sketchbook update 31-Jan-2016
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook update 31-Jan-2016

T1-MMT-P5-s3 Initial resin drizzle samples

In my Review wrapup (26-Jan-2016) I identified a number of initial sampling ideas.

I set up those and even more for my first work session, leading to my first failure. The resin had settled into soft crystals. With lots of stirring I was able to get some out of the container, then lots more stirring with the hardener to mix thoroughly. While brushing and dribbling I began to notice the resin warming, then suddenly it was semi-solid and smoking hot – too hot to touch in my nitrile gloves. So I have a lump of semi-cured resin and a number of samples still in progress. Lesson learnt – I’ll have to accept that this process needs time and small batches.

Results so far:

Sample p5-1 Resin on polymorph

Sample p5-1

Sample p5-1

Sample p3-3 was brushed with resin. Most dripped off and I have not been able to remove the thin film of resin that remains. The surface is now glossy, but I can’t see any advantage of combining the two materials.

Possibly I should try again with a barrier at the edges to ensure a thicker resin sheet which might be easier to separate, but I don’t currently see this as a strong contender for development.
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Sample p5-2 Resin on composimold
This sample was based on the idea of columns of vessels with a corrugated surface (sketchpage 024 18-Jan-2016). Composimold was poured onto a plastic sheet with corrugations (in past life packaging for a set of pencils). It was rolled and slid into a cardboard tube to hold the column shape. The tube was held at an angle in a bowl and resin was dribbled in.

Sample p5-2 in progress

Sample p5-2 in progress
Click image for larger view

Given the heat generated by the resin I expected the composimold to melt into a lump. However the next day it appeared intact and I was able to peel off the cardboard tube.

The resin came away easily. Composimold is a good candidate for creating molds in future samples. However having been placed on an angle most of the resin had simple run through and only a thin film was left.

Sample p5-2

Sample p5-2

In this photograph I’ve left the resin partly on the mold, and the combination of materials creates an exciting combination of shape, texture and reflective properties. Soon after the materials relaxed and they now lie flat. However it is clear that there is a lot of potential here. This is a combination of materials and form that I would like to take further.
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Sample p5-3 Resin on crumpled paper
This sample started with print p4-32, reshaped into a bowl form. The form was placed in a plastic bowl to help retain shape during resin application. Resin was poured and brushed on.
Sample p5-3 with internal lighting

Sample p5-3 with internal lighting

In the photograph above a small LED has been placed in the bowl. When exploring all of the samples in this post I was aware of reflections of light. I would love to see all of them in good gallery lighting, which would really bring out the sparkle of the faceted surfaces.

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The bowl is around 16 cm in diameter and 10 cm at its highest. It is light but quite stiff. The resin will continue curing and gaining strength over the next few days, so I haven’t put a lot of pressure on it.

I think this result is delightful. There is potential to go back to all the crumpling techniques and printing techniques to create a series of vessels in different shapes and sizes.

Perhaps it could be a way to record and develop shapes such as those created during the casting project.

Liu Jianhua Container Series detail

Liu Jianhua Container Series detail
Click image for larger view

Peering into the centre reminds me of Liu Jianhua’s ceramic series (30-Jan-2016). A low display, perhaps with some taller vessels and playing with reflections, could be effective.
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Sample p5-4 Resin over heat distorted fabric
Sample p3-46 detail

Sample p3-46 detail
Click image for larger view

This sample was intended as a development of p3-46. The shape was based on a vessel of enameled copper by June Schwarcz (https://enamelguild.org/june-schwarcz/, sketchbook page and research yet to be posted).

Sample p5-4 sewn

Sample p5-4 sewn
Click image for larger view

I began with some roughly cut triangles of crystal organza, pinned together to make a tube. I wanted some sparks of colour, so included two orange pieces amongst the grey. One of my development plans was to use more of the plastic horsetail, leading to a decision to sew in black thread, then oversew some seams to capture the plastic threads.

At this stage I was doubting my taste level, but I’ve written recently of the feeling of daring myself. This is the piece I referred to in my reflection on tutor feedback (28-Jan-2016). I kept going, wanting to learn as much as possible from unpromising beginnings – and just maybe there would be a surprise.

Sample p5-4 heat distorted

Sample p5-4 heat distorted
Click image for larger view

Holes appeared almost immediately when using a heat gun. This aligns with earlier experiments – if the fabric can’t shrink and distort, holes appear. In the current sample the stitching held firm and put pressure on the fabric.

I suspended the shape and brushed and dribbled resin over it.

Sample p5-4

Sample p5-4

Sample p5-4 top view

Sample p5-4 top view
Click image for larger view

The final result is stiff and sits stably on the worksurface. The main part is 7 to 8 cm high, the plastic spikes rise to 20 cm.

I find it intriguing. It bothers me. It’s ugly and misshapen and awkward, but… The overall shape is dynamic. It claims space in a way that I find effective. There are the seeds of something that could work for me. If I don’t look at the detail, or only the right detail, it’s exciting.
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Sample p5-5 Resin over woven black plastic

Sample p2-57 detail

Sample p2-57 detail
Click image for larger view

Sample p2-41 b

Sample p2-41 b
Click image for larger view

This sample evolved as I was working on it. First it was going to be a bowl based on sample p2-57. I couldn’t find the bundles of yarns used then, so decided to substitute plastic horsehair. I was thinking something smooth and elegant.

I wanted to shape the braid over a form – a balloon. The plastic was very difficult to work with and I just couldn’t manage it. So I decided to switch to basket weaving. There would be challenges with the fairly short lengths of plastic, but that could lead to spiky shards, as seen in early sketchbook work (sketchpage 005, 10-Jan-2016).

Sample p5-5 in progress

Sample p5-5 in progress
Click image for larger view

It was a struggle. There were loose ends everywhere, everything sliding around. I had little to no control over the shape, which could be an issue if developing the sample. A sensible approach could be to combine with another material, but I really wanted the initial sample to be a “pure” exploration of my material of choice.

The final form was fragile. Individual threads could slide around and it seemed at any moment the entire thing could fall apart. However I was able to suspend it from three of the base groups of threads, and paint it with resin. The process was slow, and it was during this that the resin heated and smoked.

Sample p5-5 detail

Sample p5-5 detail

Sample p5-5

Sample p5-5
Click image for larger view

My photographs don’t do the sample justice. There are droplets of resin of various sizes all over it and they sparkle catching strong light. It casts wonderful shadows. There is an airiness and light to the structure.

The form is around 60 cm wide, but a couple of outstretching threads take it to 90 cm wide. The rim of the bowl sits 5 or 6 cm above the work surface.

If I can learn to work with the material there is huge potential here. I need to work on my lighting and photography to communicate this.
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I feel I’ve learnt a lot from this first set of samples. My resin handling is already improving. I need to work on my lighting and photography. One or two of the samples could be included as they stand in my collection. Sample p5-4 looks much better in combination with p5-5. It starts to become an interesting variation rather than just an isolated oddity.

T1-MMT-P5-s3 Initial resin drizzle samples
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Stage 3: Sample-making
Initial resin drizzle samples

T1-MMT-P5-s2 Collections of vessels at the AGNSW

Earlier in the week I was at the Art Gallery of NSW for the first of this year’s art appreciation lecture series (theme Collectors & Collections, starting with the Medici), and spent some time earlier looking for collections of vessels.

Liu Jianhua Container Series (2009)
http://www.artgallery.nsw.gov.au/collection/works/228.2010.a-kk/

Liu Jianhua Container Series

Liu Jianhua Container Series

Liu Jianhua Container Series detail

Liu Jianhua Container Series detail
Click image for larger view

The vessels of this series are linked by the glaze used – celadon on the body and a red glaze giving the impression the vessels are full of liquid. There is a range of form and height, and a sense of sparseness in the unadorned shapes. In this installation the vessels are grouped on a low bench in the centre of the gallery, just large enough to accommodate them. The visitor looks down into the rich transparent red. Individual vessels can be seen clearly, they are brightly lit, open to view, but despite individual beauty it is the group which has primary impact.

Longquan ware

Longquan ware

In contrast other vessels in the same gallery are displayed in rows behind glass within the walls. They are evenly but relatively dimly lit. Each has its own information label. They are related – similar materials and place of origin – but separate.

The gallery website for Liu Jianhua’s work shows a different arrangement, the pieces close but not touching, on the floor in the corner of a white room. It is just as effective in showing them as a series.

Unlike my proposed collection, there is a depth of cultural references and symbolic meaning in Container Series. China’s ceramic heritage is referenced in glazes and some of the forms, but combined with other forms and a distinctly contemporary installation. China as a producer of consumer goods, and its position as a growth art market add to understanding, appreciation and meaning of the work.

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Dale Frank Ambition 25 + regrets 10 + death 21 = 56 (2014)
http://www.artgallery.nsw.gov.au/collection/works/189.2014.a-zzz/

Dale Frank Ambition 25 + regrets 10 + death 21 = 56

Dale Frank Ambition 25 + regrets 10 + death 21 = 56

Dale Frank Ambition 25 + regrets 10 + death 21 = 56 detail

Dale Frank Ambition 25 + regrets 10 + death 21 = 56 detail
Click image for larger view

The bottles in Dale Frank’s Ambition 25 + regrets 10 + death 21 = 56 are one part of a larger whole. The grouped placement is significant, referring to the title of the work. In the group of 21 bottles each has a coin placed on top, I assume linking to the tradition of coins on the eyes of the dead to pay Charon. The total number of bottles is the artist’s age at the time. Is this the sum of his life, placed in service to art exemplified by the varnished plexiglass above? I took my photographs at an angle, wanting to avoid my own reflection, but perhaps I should have embraced the opportunity to create my own self-portrait. Given the title, ideas of life and death, this work seems in the tradition of still life, a commentary on a brief and shallow existence.

The individual bottles are anonymous, mass produced. The ideas behind the grouping contain the importance of the work – although it is also visually striking, being large, reflective, a glow of colour.

I feel uncomfortable about this work, as if I’m not in on a joke or there’s a conversation going on over my head. I don’t see this world of ideas as relevant to my current research purpose, my focus on materials rather than concepts.
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Fiona Hall Slash and Burn
http://www.artgallery.nsw.gov.au/collection/works/418.1997.a-ttt/

Fiona Hall Slash and Burn

Fiona Hall Slash and Burn

I wish I could include a better photograph of this work by Fiona Hall. It is stunning. The image on the AGNSW website is sharper, but for me it loses the atmosphere of silent screams, empty eyes, and random body parts.

Suspended in dim light are dismembered remains, knit from video tape still connected by an umbilical cord of tape to video cases lying on the ground. They are war films – Hamburger Hill, Apocalypse Now, Gallipoli. “Slash and Burn” can be clearing land, or more darkly, ethnic cleansing.

The media glorify violence, and make money from it. The victims are voiceless, anonymous, without number. The AGNSW website includes “Hall believes there is no hope for the sustainability of nature until human beings begin to treat one another with greater respect and understanding.”, but I see no hope in this installation.

Grace Cossington Smith The sock knitter

Grace Cossington Smith
The sock knitter
Click image for larger view

The use of knitting is poignant. Elsewhere in the AGNSW is The sock knitter by Grace Cossington Smith, showing the artist’s sister knitting socks for troops in World War 1. It is full of colour and quiet determination, comfort and hope. There is nothing quiet or domestic in Hall’s work.

Once again I find it difficult to find ideas to bring back to my own work. The individual parts were displayed in a strict grid pattern. There is variation in detail but the similarities mean the parts build as a group to create impact. In this post I am presenting works in the order I came across them – the AGNSW is constantly changing and all the works bar Liu Jianhua’s were new to me – and each seemed more serious, had greater depth of ideas, making my student explorations seem trite. I’m posting despite this, in a way demonstrating what my plans are not. However it is the next, final piece which silences me.
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Doris Salcedo Atrabiliarios (1992-1997)
http://www.artgallery.nsw.gov.au/collection/works/372.1997.a-o/

Doris Salcedo Atrabiliarios detail

Doris Salcedo Atrabiliarios detail

Doris Salcedo Atrabiliarios

Doris Salcedo Atrabiliarios
Click image for larger view

Here is loss, pain, emotion, violence that I cannot encompass. Presented in niches in the gallery wall, closed away from us by cow bladder stitched with surgical thread, are shoes of women who have disappeared in Colombia.

I stand quiet before this memorial.

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T1-MMT-P5-s2 Collections of vessels at the AGNSW
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Stage 2: Research
Collections of vessels at the Art Gallery of New South Wales

T1-MMT Tutor feedback on Assignment 4 – Mono and collatype printing

I received my tutor’s feedback on Assignment 4 – Mono and collatype printing a couple of weeks ago. In the past I have shared my reflection but not the actual tutor report on this blog. In response to a recent question my tutor advised “I am totally happy with my tutor feedback forms being made public. I believe this will help other students and shows this is an open dialogue between tutors and students.” Although Rebecca’s reports have overall been very positive this feels like another step up in the vulnerability stakes. A major theme in this course has been dealing with, accepting, embracing, risk. So here is a link to download a pdf: Tutor’s feedback. Links to earlier feedback forms are included under the relevant Assignment on my Mixed Media for Textiles contents page here.

My reflection:
I’m very pleased that Rebecca has recognised both my difficulties in the early stages of the assignment and that I was able to challenge and change my mindset. The result was “a good range of work”, but I agree that the more important outcome is learning how to learn, how to reflect on and respond to difficulties, to recognise and take advantage of opportunities.

I like the suggestion of working a form around the page to see the effect on the total composition. Given composition is one of my major goals in the current assignment I need to make sure to try this. Although I have been writing about exploring space and three dimensions, photographs on this blog remain my major communication tool and I need to make them as dynamic and interesting as possible.

Bringing past samples into current work is always pleasing. As associations and connections build it gives extra depth and strength to the work. It’s also a great way to consolidate learning. I certainly mean to continue this in the current assignment.

A number of times in her reports Rebecca has encouraged me to take risks and go with even the crazy-seeming ideas. I’ve just starting sampling for my final pieces and realise I’m virtually daring myself. If I think an idea’s too out there I must try it. For future reference the current example involves crystal organza and plastic horsehair inspired by an enameled copper work by June Schwartz. It’s not looking promising, but just maybe I’ll discover something amazing from it. The focus I’ve chosen for the assignment should allow me to keep experimenting and pushing right to the end – my main concern at this point is simply time.

As soon as I read the suggestion to make pencil drawings to examine detail of some of my prints I couldn’t believe I’d missed the idea. We’re learning that feedback loop, looking at and building on what we’ve done to take us further, looking at details for something unexpected or new. I couldn’t find a way to translate the prints further, but simple lines of selected areas… of course! In the last couple of weeks I’ve been focused on developing ideas for the final piece, but I’m now at a point where I should be able to try this.

I’m currently in the research stage of assignment 5 and can see that although I’m searching widely I probably haven’t focused in enough, really picked apart what I’m seeing. As Rebecca noted I learnt a lot from the Degas detail exercise. I’ve got a couple of ideas to try over this Research stage to push myself on this.

One suggestion puzzles me. “I suggest you continue to develop ‘how’ you think about your work, learning from this deliberation and feeding it back into your creative process.” I recently read The First Book I Wish I’d Had At Art College by lb Vindbjerg (available free on amazon – here, a link given by another student on the OCA forum). It discusses eight perspectives for approaching art, which I suppose might be useful in thinking about my own work. Or could it be that I have concentrated on materials and techniques, with only cursory asides on potential content? Any suggestions would be most welcome.

I’ve listened to some TED talks on where ideas come from and made a few notes in my sketchbook. Feeling somewhat flooded by ideas during the Review stage I haven’t made deliberate practical use yet, but I’m sure the time will come.

Finally I’ve printed Rebecca’s Pointers, slightly modified, and taped them above my computer screen to keep myself on track:
• Continue to take risks, learning from happy accidents
• Maintain your excellent working practices
• Add some more drawing to this assignment in the form of line drawings of your print work
• Try working a form around the page to see the effect on the total composition
• Continue to research widely
• Pick a part your research material to find what you can learn from it
• Continue to use critical reflective thinking to learn about your work and working practices

I originally penciled in 14 March for the final assignment due date and this is the date suggested by Rebecca. However given assignment 4 was delayed a couple of weeks over the Christmas / New Year break I’m currently aiming at 28 March. If I keep focused and work steadily I should do it.

T1-MMT Tutor feedback on Assignment 4
Textiles 1 – Mixed Media for Textiles
Tutor feedback on Assignment 4 Mono and collatype printing

T1-MMT-P5-s1 Review – an exploration of materials and space

The Review stage has taken me considerably longer than anticipated. I’ve been amazed – almost overwhelmed – by the amount of material generated. I considered another level of summary, condensing to a dot-point list of relevant ideas, but found that too much was lost in the process plus it all started feeling a bit stale. I’ve decided instead to take enough for my first set of samples, then come back to the full sketchbook to refresh and inform for the next cycle.

In theory Stage 2 – Research is next, but I’ve decided to interleave that with Stage 3 – Sample-making. It seems a more natural way of working – research leads have already been making their appearance in the sketch pages during Stage 1. Also I noted in my review of Assignment 3 the rhythm of work with casting and molding (12-Oct-2015), and I know there will be time waiting for samples to harden which can be used effectively for research.

The working title for the final piece(s) is now An exploration of materials and space. It will probably still look like a collection of vessels, but makes clearer that my interest is in continuing to explore my materials, their properties individually and in combination, and to consider the parts as a whole installation.

For my first set of samples I want to look at resin in combination:

Sample p3-3

Sample p3-3

* with polymorph – can it act as a mold or be embedded for shape or surface texture
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Sample p3-33

Sample p3-33

* with composimold – ditto
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Print p4-32 shaped

Print p4-32 shaped

* over crumpled paper – p4-32
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Sample p3-46 detail

Sample p3-46 detail

* over molded fabric – an extension of p3-46
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Sample p2-57 detail

Sample p2-57 detail

* over braided yarns – an extension of p2-57
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Sample p2-41 b

Sample p2-41 b

* with inclusions and joins of plastic horsehair
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Sample p3-20

Sample p3-20

* with colouring agents (ink, liquid dye)
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T1-MMT-P5-s1 Review wrap up – An exploration of materials and space
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Stage 1: Review
An exploration of materials and space

T1-MMT-P5-s1 Review – Part 3

An update on progress with very brief notes to avoid too much duplication. Most of this work was done while in Bathurst, before or after concentrated days in the class studio. A mix of the next stage, Research, is included.

p5-sketchpage 026 20160116

p5-sketchpage 026; 20160116

Ideas of dribbling resin, playing with scale, the nature of a “collection” (not all prima donnas), fragility, joining, display (interest from every angle).

p5-sketchpage 027 20160117

p5-sketchpage 027; 20160117

How to display change over time; dynamic collection; hidden, revealed; contrasts; in assignment 3 sorting saw greatest potential in materials and combinations; want to sample with a list of questions, not fixed ends or answers; how to link items; vessels and space.

p5-sketchpage 028 20160118

p5-sketchpage 028; 20160118

Embedded materials; using dremel tool (from Graham Marchant class); lighting; colouring resin; themes of loss, change, the edge of violence and trauma, or resilience; make every sample count; plaster on crumpled paper; resin to embed fragments of plaster.

p5-sketchpage 029 20160119

p5-sketchpage 029; 20160119

Resin (or other materials) as mortar; 3 simple ideas can be enough; an aside – listenning to TED talks on where ideas come from; using some prints as basis of vessels.

p5-sketchpage 030 20160121

p5-sketchpage 030; 20160121

Elizabeth Lundberg Morisette. Collection of vessels – the power of many with small differentiation, compared to a smaller group where each piece has an individual presence.

p5-sketchpage 031 20160121

p5-sketchpage 031; 20160121

More TED talks and research. Tina Vlassopules. Simple basic form repeated with variation. The photograph is beautiful, but I don’t think it would be as strong in a space.

p5-sketchpage 032 20160123

p5-sketchpage 032; 20160123

Adam Frezza and Terri Chiao. Another example of the differences between grouped and individual display. Very different results.

p5-sketchpage 033 20160124

p5-sketchpage 033; 20160124

Susan Amann. A beautiful join in raku vessel using basket weave. Perhaps something like that could be my linking element.

Finally finished working through past posts for the Review. Assignment 4 was less rich in ideas, but will be important when sampling and recording. Themes of boundaries, open possibilities, uncertainty, layers of time. Contrasts of texture. My strong interest in a collection of cast plaster, recast in print. Marks in the surface. Joins.

Now I need to pull together ideas from the Review to take forward. I started the process with the idea of a collection of vessels, and despite other possibilities that remains my preferred option – although “vessel” has blurred with “object”. However I have developed a lot of questions/options around the kind of collection, the kind(s) of vessel, and the means of display.

T1-MMT-P5-s1 Review – Part 3
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Stage 1: Review
Part 3

T1-MMT-P5 Graham Marchant – Exploring Mixed Media workshop

Last week I went to the Mitchell School of Arts summer school in Bathurst. Over two hundred people spent the week there, creating, learning, and talking about creating and learning.

My workshop was with Graham Marchant, a very experienced artist and teacher, who draws, paints (oils and watercolours) and prints. Graham has given me permission to include some images of his work here.

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The slideshow above includes one of Graham’s large watercolours. It includes a length of draped fabric – a frequent feature in his work, the folds created using a lengthy process including layers of glazes which he demonstrated during the week. There is also a sliver of window, what Graham described as an exit of the picture, and a favourite compositional device. With my current preoccupation I note the painting includes an eclectic collection of vessels.

I’ve also included two lino cuts. The coloured one used multiple blocks, out of scope for the workshop but it’s interesting to see similar ideas in a different medium. Quite a bit of of class time was spent working with lino cuts.

See Graham’s website for more information and images – http://grahammarchant.com.au/

The class description offered printmaking and further layered processes including collage and painting media, using our own drawings and photographs as source material.

banded ironstone formation

banded ironstone formation

Print p4-162

Print p4-162

I worked with an image from my Broome to Perth trip, the same banded ironstone formation I used in the last assignment (30-Dec-2015 and 31-Dec-2015).

There were eight in the class and we began with a large (around A3) lino cut, but after that Graham supported each of us in developing our own path. My lino cut went through a series of states and refinements, with final prints on 300 gsm (I think) German Etch and a rice paper.

class print 1

class print 1

class print 2

class print 2

Print 1 was the German Etch, printed using a press. Print 2 on rice paper was made using a baren and wooden spoon. Both used black Schmincke linoprint ink. Although the heavy paper is beautiful and use of the press allows a solid transfer of ink I think the variation in the hand pressed version is a better match for my subject.

class oil pastels

class oil pastels

I used one of my state proofs as the base for some work with oil pastels. I was feeling a need to break out of the monochromatic!

class drawing 1

class drawing 1

class drawing 2

class drawing 2

class watercolour test

class watercolour test

I started planning a more detailed watercolour and began with a couple of pencil sketches, trying to clarify the broken rock layers. Graham suggested that we use the same source for multiple interpretations, really getting to know and understand the image. The complex movement of the banded ironstone was forgiving in one sense – who would know if my interpretation was wildly inaccurate? I found it challenging, but by the end of the week I was able to see more and more.

At my request Graham gave an extended introduction to basic watercolour techniques. The little square shown here was one of my samplers, working with colours and lines that could be useful in my picture. Reminder to self – I’ve since realised I should have included the technique of random splattering masking fluid with a wash over, for a nice rocky/crystalline effect.

class collage

class collage

In the event I didn’t get to use most of the ideas. I used some 300gsm Arches medium texture watercolour paper, around 57 x 51 cm. The underlying thought was to used mixed media to present multiple views at different scales in a single work. After a base layer of watercolour mulberry bark was glued to the page to suggest the rock bands. More colour was added, plus some mottled baking paper from the natural dye day last year (4-Apr-2015). In the final moments some grasses were added in an attempt to pull the page together. There wasn’t time for the detailed painting or perhaps drawing I intended. At the moment I think it was a mistake to put colour on the mulberry bark, as I’ve lost the lovely sheen. I’m out of ideas currently, so this might stay as an unfinished exercise.

Back home today I wanted to try printing the lino block using my own resources.

home print 1

home print 1

Carbazole violet Akua intaglio ink was rolled on and the print taken on cartridge paper using a baren. Graham did one print like that in class, basically to show us that you can’t get a quality print on even medium weight paper without a press. It’s not necessarily an issue in this current course, as printmaking is only one step in the creating process, but I’m planning to follow up on some possibilities to get occasional access to better equipment.

home print 2

home print 2

The second print was on rice paper. The colour is still patchy and light, but there is a soft, atmospheric effect on this thin paper. I think this is the most successful print of the block, although that’s not so clear in this photograph.

The lino block is larger than my gelatin plate, so only part of the image is included in the final prints.

home print 3 detail

home print 3 detail

home print 3

home print 3

First I rolled the gelatin with a mix of pyrrole orange and red oxide Akua liquid pigments. The uncleaned lino block was pressed in, then a print taken on cartridge paper.

The colour is not sympathetic to the image and my hand pressing of the lino block was uneven. There is some lovely crisp detail of the cutting, and the incidental marks work well for the subject matter.

home print 4 detail

home print 4 detail

home print 4

home print 4

Again with no cleaning, I rolled a mix of lamp black and red oxide onto the gelatin. Only a few drops are needed, but I accidentally used more. I pressed the lino block into the gelatin using an mdf board to ensure pressure over the full area.

The lino lifted off with a squelch due to the excess of ink. The overall picture is lost in all the incidental marks, but there is some lovely patterning at the detail level.

home print 5 detail

home print 5 detail

home print 5

home print 5

I rolled on a smaller amount of ink in the same colours. The print is still not clear. I will probably use this technique again, but on a slightly smaller scale.

All this detail on the physical products of the week doesn’t do justice to what was a great experience. Graham was a generous, knowledgeable and thoughtful tutor, with lots of little tips and insights as well as the major demonstrations. The class was diverse, and the discussion and sharing in the group was both enjoyable and instructive. It’s going to take a little time to rebuild energy – it was exhausting mentally as much as anything – but I’m hoping to see ongoing improvement in my sketchbook over coming months.

Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Graham Marchant – Exploring Mixed Media workshop

T1-MMT-P5-s1 Review – part 2

Over the past week I have continued to work through my past blog posts, noting down ideas and generating still more. I am amazed at the amount I have done and the volume of possibilities available to explore further. Even with my tentative restriction to “collection of vessels” there is so much. Some of it is repetitive, and many of my notes go beyond vessels. My main goals remain using materials already identified, combine ideas from multiple parts of the course, a collection where the whole is more than the sum of the parts, and to edit fiercely.
Theme – mold as a record of what was.
Spaces between
A captured moment
Fragility; barriers; memory; venees that crack and reveal; scarring; traces
Emotion of folds in material

Materials: plaster, resin, plastic horsehair, chicken wire, glue as an inclusion; composimold – make use of flexibility

Shapes: glass brick; fluted wire armature; joins; manipulating interior space when casting; lettuce or cabbage leaves; balloon centre, pvc outer

Ideas and techniques: Indeterminate edges; stitch or other construction method in casting revealed/recorded in result; pvc pipe to form voids; play with gravity and tilt when casting

p5-sketchpage 016 20160110

p5-sketchpage 016; 20160110


Tea dance by Olive Cotton. Repeated shapes, but rotated and grouped to create co-ordinated movement. Importance of lighting.

p5-sketchpage 017 20160111

p5-sketchpage 017; 20160111


Continued playing with ideas of variations on a restricted theme. The thought started with glass brick windows. Using a regular shape rather than a vessel could simplify casting. Bricks of plaster and resin, using the dynamic plastic horsehair to create shapes within the bricks and protruding – a way to break up space with more interest, perhaps even join multiple shapes.

PVC is another possibility as a mold for casting, embossed to create texture. Chicken wire or similar, as seen in Rosemary Christmas’s work, could be used as armature which could be dribbled with plaster or resin. It could be used in combination with other techniques, but again I wonder about trying to do too much.

Re-reading my old posts, there are so many intriguing paths I didn’t explore.

In my discussion of Victoria Brown’s work I mentioned the spaces between. I want to make the spaces between just as important as the items themselves.

P5-sketchpage 018 20160116

P5-sketchpage 018; 20160116

P5-sketchpage 019 20160112

P5-sketchpage 019; 20160112

Various ideas for molds for a cast. Tilting a vessel while setting then putting a different layer on top could be a simple but effective combination. I’m noting artists to research in part 2.
P5-sketchpage 020 20160113

P5-sketchpage 020; 20160113

Joining composimold and polymorph using resin?? I suspect this is trying to do too much, but I enjoyed the group photographs I’ve done, so it’s worth considering.

Joining leads to the idea of unjoining. Could composimold be used as a mold for say plaster, then partly peeled off? Would that give interesting shapes, perhaps a way of showing boundaries or history? Tutor feedback on earlier work mentioned “a combination of materials can create tension and distortion”. There was weaving photographs, and also joining crepe paper and organza which was then heat distorted. I know there is more to explore here.

P5-sketchpage 021 20160114

P5-sketchpage 021; 20160114

More ideas for combining materials and creating molds. The lower sketch is based on work by Liz Williamson. I put a request on the OCA textiles forum asking for research suggestions, and some interesting leads have resulted.
P5-sketchpage 022 20160115

P5-sketchpage 022; 20160115

This page was an early attempt to summarise some of my strongest ideas and to start planning a set of work for the sampling part of this assignment. I’ll come back to this in the review wrapup.
P5-sketchpage 023 20160114

P5-sketchpage 023; 20160114

I’ve been away from home a few days, and the top sketch was made looking at a plum tree on a property in the Megalong Valley where we spent last weekend. A group of 18, four generations of one family, had our annual weekend away together. I could attempt a link between containers and family units and houses full of adults and children, but really I was simply looking for a quiet moment.

The word “tension” came up again, this time in reference to the work of Henry Moore. More research to be done.

P5-sketchpage 024 20160115

P5-sketchpage 024; 20160115

Themes of scarred shadow, an imperfect memory arise. I’ve noted lots of samples with elements that attract me, then came to one of my current favourite ideas – hollow columns, corrugated surface in a range of materials and dimensions.
P5-sketchpage 025 20160115

P5-sketchpage 025; 20160115

One interesting thread I’ve been following in this process is the development of the dribbling resin idea, tracing its beginning in a failed sample, then leading to some interesting work and ideas. I think this should be a strong contender for use in the final pieces, allowing me to show all the stages.

I haven’t put my normal links and photos in this post – too difficult on my travelling setup. It made need an edit when I’m back home next week, or perhaps it will be my classic “could be good, but need to move on”.

T1-MMT-P5-s1 Review – part 2

Part 5: A final piece

Stage 1: Review

Part 2

T1-MMT-P5-s1 Review – A beginning

Part 5 of the course brings together everything learnt so far, consolidating the good work processes developed. The nature of the final outcome is left open – single or multiple pieces, combining methods and materials, remaining experimental. I’m asked to start by going back to the beginning, reviewing samples and learning blog, looking for materials, techniques and ideas to explore further.

A collection of vessels

That’s my first choice in thinking / reviewing / researching. A Collection – composition of groups of items has been a recurring interest through the course. Vessels – a slight narrowing of focus from the universe of all objects. Vessels provide a boundary between inside and outside. It’s a starting point, open enough for all sorts of exploration.

www.pinterest.com/fibresofbeing/vessels/ is a new board with images from my research and also my own samples – after all they are are part of my research for this new collection.

At the end of assignment 4 I was very aware of going backwards in my sketchbook, so I’m starting with an experimental tweak to my work process. I’ve always used separate sheets stored in a “sketch box”. It gave flexibility of media plus the selection of a sample of work for mailing to tutor and assessors. Now I’m building a sketchbook as I go. Signatures are two sheets of A2 paper, folded to A3. I can sew and bind at the end – no blank pages to add weight and bulk, accommodating any extra or bulky materials at the same time. I’m hoping this will provide a framework for more consistent effort. I also want to experience leafing through a physical book, following progression, checking back on earlier ideas. How much effect will this have on my work?

This week I’ve focused on reviewing work from Parts 1 and 2 of the course, looking for material relevant to a collection of vessels, or to an alternate project idea. Annotated images of all sketchbook pages to date are included below. It’s a jumble of ideas rather than a flowing narrative – I see that as the point of this part of the process, generating lots of options. I’ve extracted a few specifics as an overview.

Properties to consider:
Scale
Shape
Decoration
Texture – reflections, surface, interior.
Inside / outside
Cast and recast (from print sample)
Variety / relationships. Use resin (or other), or shape or … as the link between elements?
Inclusions – plastic, plaster…
Materials whose properties combine/interact/change

Potential themes, alternatives (my current inclination is to follow the materials, but it’s too soon to be definitive):
Fragility ==> broken vessels; news(print) that is overtaken by events; trapped in amber
Traces, memories, shadows
Boundaries, order|chaos, transition
Recording disintegration
The space between (link to boundaries)
A captured moment (in amber/resin; or something broken…)
Escape
Empty vessels – a container for viewers’ thoughts or memories
A puzzle for the viewer. Get them to ask questions. Engage.
Use/suggest gravity. Impossible balance?

Materials and techniques:
Do I want a clear textile link?
Spikes and protrusions
Heat-treated fabric
Heat shrunk plastic
Bundles of hessian, maybe gathered with 3D pen. Stabilised with resin? Partially?
Polymorph – as vessel or as mold or inclusion.
Resin with all sorts of inclusions
Plaster
Composimold
How do my favourite new materials interact???

There are also ideas for presentation, research and sketchbook techniques. I will blog about specifics a work progresses.

p5-sketchpage 001 20160103

p5-sketchpage 001; 20160103

While the clay vessels of Brenna (http://www.designsponge.com/2012/07/diy-project-paper-clay-barnacles.html) are beautiful I am interested in the challenges of bringing more varied works together in an effective way.
p5-sketchpage 002 20160104

p5-sketchpage 002; 20160104

A page of possibilities for research and sketchbook work. More on the detail as ideas are progressed.
p5-sketchpage 003 20160104

p5-sketchpage 003; 20160104

A sketch based on Still life: apples and jar by Samuel Peploe (link). I like the repetition of shapes with the apples, combined with variety of shape and scale in other vessels. The combination of multiples with unique forms helps connect all the elements.
p5-sketchpage 004 20160104

p5-sketchpage 004; 20160104

p1-1f - accordion fold variation

p1-1f – accordion fold variation

An early pleat variation (21-3-2015) suggests a vessel form. Could this be captured using (dribbled?) resin? What if the paper had been printed before folding? The sketches above and on the next page were done at the time of the original exercise.
p5-sketchpage 005 20160104

p5-sketchpage 005; 20160104

Denise Lithgow felted vessel

Denise Lithgow
felted vessel

Steel wool or balsa wood (both using in folding) could be used as inclusions. What about projections? There’s a link to Denise Lithgow’s felted vessels (22-Feb-2014), but I want to stay with more experimental materials.
p5-sketchpage 006 20160105

p5-sketchpage 006; 20160105

Beginning to build up a library of shapes that I can use to experiment with compositions.
p5-sketchpage 007 20160106

p5-sketchpage 007; 20160106

Giorgio Morandi Still life

Giorgio Morandi
Still life

My rough sketches were scanned and adjusted in the computer. I then worked with layers in gimp to preview placements.
I was thinking about Morandi’s still-life paintings, the same shapes appearing again and again in different configurations, sometimes grouped very tightly. (A post about still-life including this example 31-Jan-2014.) That’s probably the origin of the orange used here as well.

I find this variant quite satisfying, with some interesting negative space beginning to develop. Overlap is limited – how much do I want a conversation between elements versus creating a new whole? It’s very flat, with no indication of a surface to sit on.

p5-sketchpage 008 20160107

p5-sketchpage 008; 20160107

Sample_p1-40 Bent

Sample_p1-40 Bent

Could bendy straws or wire enclosed in fused plastic be used to create vessels (11-Apr-2015)?
Sample p1-57 Detail

Sample p1-57 Detail

Sample p1-61 Shadows

Sample p1-61 Shadows

Plastic bits or other objects could be entrapped, perhaps giving opportunities to play with shadows and colour.
Sidetrack p1-13 Reverse

Sidetrack p1-13 Reverse

Polymorph could be coloured and molded into vessel shapes (21-Apr-2015). Could it be used to create molds or inserts for other materials (resin or plaster)?
p5-sketchpage 009 20160107

p5-sketchpage 009; 20160107

Another version of basic shapes, this time more decorative using various embossed and treated papers, all silvery. The background paper was chosen as providing a suggestion of a surface and some interesting colour and patterning in its own right.

Still a lot of focus on negative shapes. A much tighter grouping. There’s enough consistency and variation to provide interest and cohesion. The turquoise and silver is a classic colour combination that works well. I like this result.

p5-sketchpage 010 20160108

p5-sketchpage 010; 20160108

"Sketch" Photo 6

“Sketch” Photo 6

Photo 15

Photo 15

Sample p1-140 J

Sample p1-140 J

Polymorph, 3D pen and papier mâché ideas (16-May-2015). Marking and curling corrugated cardboard creates a good effect as the light hits the cylinder (21-May-2015). Could this be captured within a casting material?
Sample p2-28 Closed

Sample p2-28 Closed

Shadows and lighting are very important in my presentation. Sample p2-28 (27-Jun-2015) brought in light, ideas of transparency. Both materials were used later with resin. What could be done? I have thoughts of using carefully applied heat to shape a vessel, then trap/preserve/capture in resin. I note my ideas turn more and more to resin – I want to be careful not to make assumptions or close doors too soon.
p5-sketchpage 011 20160108

p5-sketchpage 011; 20160108

The sketch is based on an image of Gizella Warburton’s work (www.gizellakwarburton.co.uk/gallery-vessel-forms). A definite inclusion for the Research stage.
p5-sketchpage 012 20160109

p5-sketchpage 012; 20160109

A note from earlier research on Erin Manning, about folds and volume (29-Jun-2015). Something to consider in the vessels.

Sample p2-41 b

Sample p2-41 b

Sample p2-51

Sample p2-51

I am very interested in the shapes made with what I’ve been calling plastic horsehair (16-Jul-2015). Some very dynamic lines, claiming space. I like the idea of honesty in materials – showing them without artifice, but if possible at the same time getting people to see them differently. P2-51 has capture/escape, perhaps a frozen moment of energy. Insect mesh is another favourite material – definitely something to sample further. This was one of many posts where I wrote of showing a collection of objects.

Sample p2-57 detail

Sample p2-57 detail

The braid of p2-57 suggests a potential textile element. Make braid shaped over say balloon, pour on resin, remove balloon (may need a release agent). Could look great, but visually complex. Would need to think about how it works in a collection. Could the braid be embedded in plaster?
p5-sketchpage 013 20160109

p5-sketchpage 013; 20160109

Sample p2-70

Sample p2-70

Sample p2-72 bMany wrapped vessels 22-Jul-2015. The sequences leading to p2-70 and p2-72 are of particular interest. Lots of ideas of change, transition, deterioriation. Static objects telling of movement. The risk and thrill of destruction.
p5-sketchpage 014 20160109

p5-sketchpage 014; 20160109

Sample p2-73

Sample p2-73

Sample p2-74 Completed column

Sample p2-74 Completed column

More of the drama of horsehair in p2-73, claiming space in a different way to p2-74 (both 28-Jul-2015). It’s getting away from the idea of vessels, but that’s not set in stone (or resin ho ho) just yet. The importance of height and movement. If I use the horsehair can I leave some free, long enough to react to any air movement? (how do I get air movement?)
p5-sketchpage 015 20160109

p5-sketchpage 015; 20160109

I used photographs of three wrapped samples to create more digital vessel shapes. I couldn’t find a grouping presentation that pleased, so tried overlapping – first with colour, then monochrome. So much more can be seen when colour is simplified. I will need to be careful not to try to do too much in my collection. Leave ideas out.

T1-MMT-P5-s1 Review – A beginning
Part 5: A final piece
Stage 1: Review
A beginning

T1-MMT-P4 Mono and collatype printing: Review

In my review of assignment 3 (12-Oct-2015) I noted the different rhythm of work. Assignment 2 was a buzz of one sample leading quickly to another as ideas kept generating. Assignment 3 had technical constraints, took time to set up, time to see results – but from the beginning I had interesting materials producing more success than failure.

Printmaking in assignment 4 was different again. There were technical skills to learn, but early results were not exciting. The project exercises felt compartmentalised, the majority of prints were dull. At the end of the Sorting post (2-Jan-2015) I’ve written about dealing with those challenges because I want to take forward and develop the skills gained. By exercise 4 of project 1 the balance changed. There was setup time – masks, stencils, later collatype plates – but once done the flowing, immediate, one attempt leading to another buzz began. The early exercises had provided the basic skills to be able to respond to and develop what I saw happening.

The Introduction to this part of the course states “you’ll explore printmaking as one stage in the creation of an art piece.”

Sample p3-33

Sample p3-33

Print p4-61 layer 2

Print p4-61 layer 2

I used printmaking to examine and record previous samples, taking p3-33 out to the print area as a backdrawing subject. I combined and overlaid perspectives and while the final print is muddled the process offers value. (14-Nov-2015)

Sample p2-61

Sample p2-61

Print p4-75 detail

Print p4-75 detail

A jug used in wrapping explorations in assignment 2 became the inspiration source for design development. The jug shape was used as a stencil, and a smudged poorly registered print was one of my more exciting results. (22-Nov-2015)

Print p4-82

Print p4-82

I intended to take that shape further and combine it with work using a fish motif developed from the jug decoration. My design ideas became too complex and I pulled them back, but I think the attempts show the value of printmaking for design development. Once masks and stencils were created they could be used in different combinations and with different printing methods, quickly building up a varied group of potential imagery.(7-Dec-2015)

Print p4-95b

Print p4-95b

Print p4-97 detail 2

Print p4-97 detail 2

I have an ongoing desire to integrate work from previous assignments as the prints above demonstrate. Other examples included use of torn paper as a mask (p4-76, 7-Dec-2015) and crumpled paper as the print and display surface (p4-32, 27-Oct-2015). I was also successful in using molding samples from assignment 3 to create texture on the gelatin plate and as the print matrix itself. Polymorph and composimold produced interesting and quite different results.(14-Dec-2015)

Demonstration of technical and visual skills
As described above my focus was on using printmaking as a tool rather than traditional, formal printmaking technical skills. There are smudges, there aren’t always borders, I used extremely bulky materials on a collage block (computer components and plaster chunks).

Print p4-162

Print p4-162

Print p4-163

Print p4-163

Over the final project I developed processes and technical skills that I believe will prove of great value to me in my ongoing creative work. Using combinations of a gelatin plate and collage blocks I could build complex textures and shapes that allowed me to explore my subject material in different ways, as shown in the banded ironstone formation collage block prints shown above.

Print p4-160 detail

Print p4-160 detail

The newspaper text visible in print p4-160 resulted from my observation and exploration of an unintended effect during work on the previous print. Legible print like this could have huge potential, which I hope to exploit in the future.(31-Dec-2015)

Print p4-145

Print p4-145

My compositional skills continue to develop. For example I find the curving wave and busyness of plant growth in p4-145 balances with the calm horizontals in a satisfying image. (27-Dec-2015)

Quality of outcome
This blog continues to be the core of my presentation of all my course work. A contents page provides an easy way to navigate to different sections of work (link, also reached via the menu bar). Images of all prints produced are on a pinterest board (link) and a second board holds research images (link).

I have been considering presentation of work for assessment. To date my tutor has accepted entirely digital submissions. Postage from and to Australia is expensive, slow and has limitations on dimensions as well as weight. Many samples are too fragile, too heavy or too large to post. Many samples were recorded then dismantled. Most items can’t be mounted for presentation in any sensible way. I don’t want to send an unbalanced selection based on what is easy to post rather than what is of interest, and I don’t want to send a box of jumbled bits and pieces. I need to discuss this with my tutor, but my current thought is either entirely digital, or a very small ruthlessly edited number of samples with associated documentation to supplement this blog.

Demonstration of creativity

Sample p3-48 detail

Sample p3-48 detail

sample p3-48 after printing

sample p3-48 after printing

Print p4-128 view 2

Print p4-128 view 2

One creative leap was to treat a plaster cast sample from assignment 3 as a printing block. The process involved transferring ink from a matrix to paper, so I argue that it fits the brief. I find the result quite effective standalone, but I think there is much more potential to create a collection of casts and what could be termed a printed cast.(25-Dec-2015)

Print p4-140 detail

Print p4-140 detail

The Sample-Record-Sort process was embedded within my printmaking exploration and I see this a demonstration of a strong creative practice. When developing my 80 mile beach design I considered using yarns to create foreground foliage texture. I created a sample plate of different yarns and printed it in different ways. Recording results, I identified a number of yarns with potential. Crucially, the process led me to trim and manipulate the chosen yarns to give better scale and shape in the next cycle of work.(27-Dec-2015)

Context
As discussed in my Research wrapup post (1-Jan-2016) I found it difficult to embed my research in my sampling work.

Print p4-150 detail

Print p4-150 detail

I took small details – the use of textiles in Sarah Ross-Thompson’s work encouraged me to push further with textile textures, creating sample collatype block 8 which produced a prints with a wonderful level of detail.(30-Dec-2015)

Print p4-36

Print p4-36

I attempted a direct copy of a section of a print by Degas, which was an absorbing process. I learnt a lot about monotype markmaking and saw some details to like in the result.(27-Oct-2015)

Sketch based on Monet's Poplars on the Epte Click for larger view

Sketch based on Monet’s Poplars on the Epte
Click for larger view

My sketchbook work also faltered during this assignment. My Pinnacles collatype collage block was based on sketches before and during my visit there, augmented by a few drawings developing the design for printing (23-Dec-2015). However I wasn’t able to make sketching part of my research or in recording my own prints. I found it too difficult to draw from a print as part of developing my own prints. On reflection this makes no sense. I made a sketch based on a painting by Monet when developing a design for a series of experiments (3-Nov-2015). Somehow there was an extra level of translation which gave me space to work. Perhaps a more honest answer is that the printmaking itself was two dimensional drawing and markmaking and I resisted doing still more.

Over the period of this course I have been exposed to a range of printmaking techniques. There was an Experimental Collagraphs workshop with Jet James, using pvc foam board as the print matrix (16-Jul-2015); Breakdown screen printing with Lin Wilson (17-Oct-2015); and a day of lino and foamex with Claire Brach (31-Dec-2015). In this assignment I have focused on some key materials, the akua intaglio inks and liquid pigment with cartridge paper. However I have ventured beyond this. A partial listing is given in an appendix below. I feel confident that printmaking will be an integral part of my creative process in the future.

Finally, I have returned to the feedback from my tutor for assignment 3. My initial response to that, heavily influenced by the work I was doing when I received it, was posted 8-Nov-2015. I consider I have continued to build on some of the areas identified by Rebecca – returning to and integrating previous parts of the course; although I touched on a range of materials and techniques I have also focused on a core set; I was challenged by the early failures but analysed the situation and found a mindset to support progress; I’ve continued to take sidetracks which I believe have been justified by results. My main causes for concern are varied, relevant research and development of my drawing skills. I will need to prioritise those areas in the weeks to come.

Following this process of review I feel refocused and excited by the challenges of assignment 5.

T1-MMT-P4 Mono and collatype printing: Review
Part 4: Mono and collatype printing
Review

Appendix
A partial list of materials and techniques

Print surfaces:
Paper (most dry, some damp): cartridge , newsprint, arches 88, stonehenge, copy paper, rice paper (plain and pattern-cut), sheet music.
Linen

Pigment:
Akua intaglio inks, Akua liquid pigment, water soluble crayons, oil pastels, combined with conte crayons

Print matrix:
Etching plastic, garage floor, cast plaster, glass surface, gelatin, pvc foam board, polymorph, composimold (stamped)
Collage on mountboard – pva, polyfilla, modelling paste

Print transfer:
Hand pressure, baren, brayer, small craft press (relief and intaglio), burnishing with wooden clay shaping tools, metal spoons, etc.

Mask and stencil materials:
Lace and fabric bits, newsprint, newspaper, bristol board, freezer paper, copy paper, wet media acetate, yupo paper, weeds

Markmaking and texturing:
Brushes, fabrics, plastic card (cut as required), tile adhesive spreaders, corrugated cardboard, chopsticks, skewers, sticks, wooden clay shapers, fingers, paper towel, cotton buds, homemade tools from found objects, insect screen, roller, release agent, water, polystyrene, craft foam, materials from previous parts of the course including computer components, plaster chunks, heat distorted plastic and felt, etc.


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