Saturday, 22 February 2020

Small steps

I’ve committed to making work for three exhibitions in the next few months. 

Number one is the Liverpool Book Fair. This will be a collaborative project with the North West Artists Books Group on the theme of Magellan’s voyage.  It is very much in the research/planning stage so nothing visually interesting to show yet. 

Work for the other two is progressing slowly, but it is progressing

The theme for exhibition number two is to respond to the work of one or more of six women artists: Berthe Morrissot, Mary Cassatt, Paula Modersohn Becker, Gabriele Munter, Laura Knight and Gwen John. 

I initially thought of Laura Knight and her images of backstage at the theatre productions. So I took my sketchbook and camera to our rehearsal for Maskerade (Terry Pratchett meets Phantom of the Opera). Whilst I was there I was struck by one of our members reading on her phone. Her pose reminded me of Cassatt’s painting ‘Lydia reading’. One photo later and I’ve changed direction.
It has taken a few goes to bite the plate but here is the proof from the third plate.
The challenge is how to add her bright green and neon pink hair (which was the main reason the image appealed in the first place)

And the theme for number three is ‘Rural’. I don’t do landscape (not without buildings) and I certainly can’t do animals. I was a bit stuck but inspiration came with Mackenzie Crook’s version of Worzel Gummidge. 

I’ve gone back to the original book by Barbara Euphan Todd and I’m starting with scarecrows and seeing where it leads.
The title of this preliminary research book came from the story where Worzel is explaining that he was never a child. “I didn’t begin: I was put together in a mortal hurry. ‘Tis the same with all of us. We stays the size we’re made: and we’re made to fit our clothes.”

Saturday, 8 February 2020


I finally finished Lindisfarne.
Trying to collage the thin pieces of tissue paper with the text onto the collagraph was nerve wracking but it worked.
 Initially I had intended to cut arches out of all three of the blank panels but decided after doing number one that this would weaken the structure too much. 
Because I liked the texture of the viscosity printing in the blanks I’d already considered ditching the arches altogether, so I  am happy with the compromise.

(you can find a very brief history of the monastery on Lindisfarne as it relates to this book here)