Archive for February 25th, 2020

Printmaking as reading

There have been a few more preparatory/practice steps.
* moving away from square in paper woven baskets.


I particularly like the deep edge turnover, which stands out from the base creating some lovely shadow. Less effective was the life drawing sketch on craftpaper used for weavers. The drawing is not just broken up by the weaving, it is entirely dominated by the colourful texture of the cartridge paper print.

* Another brief print experiment using acrylic paint – this time with retarder added, hoping to get thinner layers to allow more detail in the texture pickup. The paint still dried too quickly on the plate.


I love the colours and the texture (both to eye and to touch) these paints give me. The stamp used is quite large, made in polystyrene foam using a soldering iron (from memory – it was during classes with Marion Boyling, over a decade ago). I just haven’t achieved fine detail.

* The old gelatin plate was melted and reset. Version 2 is thinner and softer. In a later print session (see below) the surface was slow to spring back after pressure, becoming uneven. I’ll probably make version 3 with all new ingredients and cut up version 2 for stamping and specific shapes.

Enough preamble. Time to attempt printmaking as reading.

From when I received the readings for the first Intensive Creative Research session last year, I have been trying to improve, to get more value from, my reading. My daily schedule changed to dedicate time to reading. I’ve tried different locations – around the house, coffee shops, libraries… I sit, I stand, I pace, I read aloud, I gesticulate. I sketch and colour and knit word by word and record times that I weave into textile data visualisations. I argue with the author, follow up points on the internet, buy more books referenced in the footnotes. I want to read slowly, attentively, to take in ideas and make them part of my mental toolkit, to make connections with other authors and ideas and my own experience. I imagine little tendrils reaching out in my brain, curling around each other, becoming more and more dense, building (there’s definitely felt-making in my near future!). I’ve experimented with repeated passes of reading – first to get a sense of the author’s message, with only brief notes to capture any ideas that pop; then again, more closely, with more extensive note-taking; then possibly stepping back to look at structure, at the how of what has been written.

At heart a Maker, I wanted to get more making into how I read. The knitting worked well, but quite slow and addressed a specific issue (ie I couldn’t bear to read the text any other way). The weaving was very slow and at one remove from the reading – it recorded the activity but didn’t progress it. This time around I’m hoping for a process that can be deployed quite frequently and in an intuitive, responsive, supporting plus extending, way.

First attempt
* text. Anne Carson, Candor, part of the collection of writing in Float.
This is one of the texts we’ll be discussing in the first 2020 Creative Research meetup in a few weeks. A good starting point, being quite short, and I didn’t complicate by combining external ideas (other texts, experience…).

* image generation. After reading the text a few times I looked for specific clues that could be translated into print – materiality, imagery, text, colour, texture, pattern, …

* print preparation. This step could be quite flexible. Weaving and skeins are strong images in Candor, so as potential stamps or stencils I made a couple more squares on the Weave-it (one in wool, the other kitchen string), and loosely tied a skein of wool. Red is a dominant colour in the text, so should be dominant in the print. I wanted some delicacy, an attention to detail, so chose akua inks and pigments rather than the acrylic paint. I turned through stencils and stamps I’ve made in the past. Ideas of the domestic, the home, are important in the text, so I selected some of the stencils based on a family jug – developed in April-2012 as part of the OCA Textiles: A Creative Approach course.

All this plus much more was laid out in my printing area, together with a photocopy of the original text and my image generation notes.

* mono-printing. I didn’t refer back to text or notes – they were effectively internalised. Most of the mark-making tools sat untouched. Just an hour of focused play and experimentation.

I’m not claiming any of these are great prints. I do feel much closer, more involved with, the original text (which I was keen to re-read when I came in from the print-station / garage). Plus I’m planning further transformations. Some folding, or weaving, perhaps collage-ing (either on to the print or part of the print onto something else).


Instagram

No Instagram images were found.

Calendar of Posts

February 2020
M T W T F S S
 12
3456789
10111213141516
17181920212223
242526272829  

Enter your email address to follow this blog and receive notifications of new posts by email.

Archives

Categories