The print
When I started working on the etching for the 20:20 I was
just playing with shapes and trying quick resists. I used sellotape to blank
out part of the plate and stencilled circles and stars through sequin waste
with acrylic paint. When I looked at it I thought that stripes would work in
the blank spaces and after proofing I decided that text would
improve it.
Looking at it the circles evoked chain link fencing , together with
the stars and stripes I thought something from the poem in the statue of
Liberty might be appropriate. (Although I’m not sure, given the ridiculous
political situation we find ourselves in in Britain at the moment, that I have
the right to seem to criticise any other countries attitude to borders and
immigration)
So I etched the text onto a blank plate and redid the
composition behind it. When it was proofed it wasn’t successful. The text and
image fight each other. I may play with it with different colours but not for
the print swop.
However I had another go at inking the first aluminium plate
using a warmer coloured ink. I liked the look of it after wiping with scrim
(but before polishing with tissue). I decided to test print and I was really
surprised. I’ve now printed the rest of the edition
The holiday
We went away last week to Port Isaac, a beautiful village in
Cornwall. We walked and I took lots of photos. Have got some new ideas for
books and prints
The Workshop
Linked to an exhibition at Salford Art Gallery Sean and Lois
at Hot Bed Press are doing a workshop over four days, two weekends. Rather than
concentrating on a specific printmaking method or producing a finished image it
is aimed at making you look, mix processes, think and experiment. The first
two days, looking at line and mark making, shape and composition, were great. No work that I’m going to post but lots of
ideas to take forwards, which is the whole point of the exercise.
I am so looking forward to the next session next weekend
