Art, Identity & Place

How wild places, deep time and archaeology inform my contemporary art process


3 Comments

‘Painting’ with Paper (continued)

IMG_5496

Point Roadknight Littoral 2, 2016, collage, 30×40 cm

IMG_5495

Point Roadknight Littoral 1, 2016, collage, 30×40 cm

IMG_5492

Foreshore Sunrise, 2016, collage, 40×30 cm

IMG_5491

Rock Pool, 2016, collage, 50×30 cm

Materials used in these collage compositions consist of handmade paper, failed viscosity prints, and their ghosts and a piece of frottage in Point Roadknight Littoral 2.  Once again I have ransacked my remnant department and the images almost arranged themselves, I think because of the way I am immersed in this coastal area and its atmosphere.

At dawn and pre dawn I often wait for low tide, no wind and some cloud before I capture  the transient nature of different elements such as the juxtaposition of water and sun, sand and reflections, rock face reflected in rock pools.

The photograph informs my work (as well as taking frottage) in a round about way that seems to make a slowly developing  mental pattern that over time distills into an image/s.

 

IMG_5022IMG_5483IMG_5482IMG_4999

 


Old and New Images

At Muddy’s She Shed during the weekend Surf Coast Arts Trail event, the studio, temporarily transformed into a gallery, had a steady stream of viewers on both days. Interested participants created gelatine prints using Anglesea flora. Several items that included Maggi Jean’s ceramics, small sculptures – (a small elephant herd) and artists’ books – ( Anglesea flora and seaweeds) found good homes as well as Evie Wood’s poetry books, cards, watercolours and an acrylic still life titled Pink Lady Interior, 2016.

 

Point Addis Daisy, 2016 by Magaret Jean.

Point Addis Daisy, 2016 by Margaret Jean.

IMG_4373

Pink Lady Interior, 2016, acrylic, 40×40 cm by Evie Wood.

Several of my digital prints were also purchased. The oldest had been part of my PhD exegesis, titled Natalie (Demeter/Persephone) and the most recent was a reproduction of a viscosity printed collagraph that started as an experiment with the viscosity printing technique but also required additional chine-colle as a way to give the composition some space and atmosphere.

Natalie ( Demeter / Peresophone), 2016, ( original 1995, intaglio, ink and wash, 98 X 66 cm.)

Snowfields 2, 2016, viscosity print and hand made paper, 50x35cm

Snowfields 2, 2016, viscosity print and hand made paper, 50x35cm


‘Painting’ with Paper

IMG_5354

Snowfields 2, 2016, viscosity print and hand made paper, 50x35cm

IMG_5334

Snowfield 1, 2016, viscosity print and hand made papers, 50×35 cm

IMG_5350

Littoral

I began with a stiff cardboard plate onto which I made rock-like texture with modelling paste mixed with glad wrap. I wasn’t happy with the viscosity prints that were far too gluggy. Time passed then I got an urge to tear then into the pieces. In collage mode I rearranged the various pieces that partly held together.

I added differently textured hand made papers of varying thickness which I torn into shapes that became a balanced composition.  A deeply coloured and  heavily textured foreground was toned down by an application of a semi transparent sheet of hand made paper in Snowfield 2.  Part of the structure from the viscosity print remained in Snowfields 1 and distant mountains tied in with layers of collage building the foreground. The last image titled Littoral and is totally abstracted through juxtaposition of ghost printed textural papers of varying thickness and randomly torn shapes.

 


5 Comments

Prints and Pen and Ink

IMG_5310.jpg

Preparation under way for pop up exhibition at Muddy’s She Shed, part of the Surf Coast Arts Trail on the 13th and 14th of August.

These images, reproduced and hand signed made with intaglio combined with chine-colle onto which I added more imagery done in pen and ink and pastel are a way I can play with past compositions and push them further.

For example, Toward the Rock Ledge, 2016 was digitally printed, put into horizontal format where it suggested another composition and morphed into Interrogation of Rock.

 

IMG_5265

Toward the Rock Ledge, 2016, intaglio, drypoint, chine-colle and handmade paper, 60x40cm

IMG_5310

 

 

 

 

 

 

Vertically aligned Fracture, 2015, printed and in horizontal format with additional pen and ink has become Sounds of Brachina Gorge, 2016

Proof 5

 Fracture, 2016, intaglio, drypoint, chine-colle and handmade paper, 60x40cm

 

 

IMG_5316

Sounds In Brachina Gorge, 2016

And Moving Toward Oblivion, 2010 became A body of Rock, 2016

Intaglio and collage

Intaglio and collage

'A body of Rock', 2016, intaglio print, ink and graphite, 28x14 cm

‘A body of Rock’, 2016, intaglio print, ink and graphite, 28×14 cm