Moving Forward

Ideas, development and the inner voice.

One thing is certain, the last 2 years have made me reflect on what it is that I am trying not to say and to attempt to resolve what I am wanting to say.
It has strengthened my resolve in attempting to push myself into making work that is without a known starting point or outcome. 
Why? 
Because there comes a point where you need to ask questions.
Naturally these questions are as a direct consequence of everything that has gone before - events that have an impact on your psyche that call into question the very core of your belief system and bring about bouts of uncertainty in everything that you do. 
Searching for satellites.
It's about identification, trying to distill the essence of my internal machinations.
Not easy.
Definitely, not easy.
Hmmm....
I strongly believe that the drawing, painting, print et al should be the by-product of the act of exploration/ investigation.
I was at the Louise Bourgeois exhibition the other day. It made sense. Yes, at times disturbing, uncomfortable but ... oh so, real. The work's strength came from a desire/ need to express, regardless. It was not about picture making. I was talking with my colleague Siobhan about this and how this was also evident in the work upstairs at the NGS of Joan Eardley a favourite artist of hers. The landscape on show demonstrated quite clearly that Eardley was trying to convey the physical experience of the landscape rather than a trite pleasant rendition. 
Hey but what do I know?
Sometimes it feels as if the answer is very little. 
Maybe painting should be about fitting in with the decor?
Maybe I should be silent.
Maybe I should stop feeling at odds.
Maybe I should just ....
Maybe
Maybe not.
Actually, definitely not.

Rant over.

Latest prints. As is the norm the following images are one off images, some work, some don't, but all are as a direct consequence of an open ended investigation. At present I am still trying to allow for the unexpected, one of the things that I think has mileage is the combination of a faint previously printed plate and sparsely applied inking on another. 
On the other hand ...

Also, recent paintings have presented new thoughts alongside old thoughts. Everything is in flux.

Expressing, responding & unexpected findings

Etching - new beginnings at  Edinburgh Printmakers 

The images that follow are the latest outpouring from the extremely limited time that I have at EP, every fortnight is so ... it's great that I am there in the first place - but - so - frustrating. I have 4hrs to do it all, I know when it's time to run and catch the train that I have been working. 

By default printmaking is time consuming, preparation of plates ( degreasing, grounds), biting  in acid (this is very different to nitric - a lot slower, not as visible etc...), soaking paper, laying out inking area, wiping down, printing and cleaning up! ( using veg oil is very new to me and requires adjustment timing wise). Oh, how I want more time!!!!

It has been an eye opener, having spent years running a traditional printmaking workshop everything is familiar and yet, different?  Learning new methods of applying grounds and how they are removed ( not easily and involves a lot more elbow grease), aquatint - again different, it's an acrylic spray which is fine but takes getting used to ( I knew the traditional resin powder aquatint box so well, how many cranks of the handle for what type of dusting etc..) As already mentioned the acid is the main steep learning curve, with nitric I could read the bite, I could gauge it's effect on the plate without use of a clock - using copper sulphate is very different, the action is much slower and for a really deep bite the plate needs to be upside down due to residue inhibiting the bite. It's been an education. I have not formulated an opinion as yet, it's too early and I remember what it was like when we changed over to water based screen inks, it takes time to adjust. 

The upshot of it all is what I thought I would achieve and how much in the time allowed is being reviewed. As previously mentioned the idea is to make imagery that is a response and not to produce ( certainly not at this stage) an edition, all imagery forms part of a documentation - warts and all - I strongly believe that if I am to 'create' then it needs to be an open ended journey, once the barriers are in place then the 'titivating' begins.

 

 I am looking forward to getting back after the imposed christmas break  - roll on the 10th Jan 2014!

Revision & Visual Perception

Demanding Paintings and Printmaking time at Edinburgh Printmakers

It's a strange affair, the idea that we are continually in a state of flux and that as artists we invariably trap segments of time onto a canvas, needing to learn just how much to put into stasis and at the same time, trying to understand how much should change. So difficult, yet so vitally important.  I endeavour to follow this train of thought but naturally need reminding of it, otherwise I know that the end result is very much 'on the surface' and is not about the ethos of this journey. These paintings demanded more, causing the inevitable ... see above!

Resolution Nō2

In Conflict 

Changes can appear to be minimal in the case of 'In Conflict', a subtle adjustment but a necessary change nonetheless. In contrast 'Perpetual Regeneration' demanded bigger changes ...

                                  

                                  

Perpetual Regeneration

Printmaking -- so good to be in a proper printmaking studio again, it's been so long. The space, the layout, the process, the Rochat press - (there's something wonderfully transcendental when you are turning the flywheel) - it's great to be starting on Printing the Innate. The series will be titled 'Visual Perception' and at present I envisaged it as an on going set of images where the traditional edition is not the goal, each image will be a record of the journey. This is the start.

A Need for Colour 

& Printing the Innate

The quest continues, the colour relationships become more informative, subtle nuances that speak to me and demand that I listen. The importance of a line and the apparent pull of two colours on one another becomes fascinating and frustratingly, highly elusive. There is a magic in all of this, I can almost touch it but just as I nearly have it in my grasp, it moves away, a tiny segment presents itself on the canvas demanding attention and I feel duty bound to respond. Joy, Pain, Elation and Despair - it's all there, it's a roller-coaster ride and a very steep learning curve. I do know that in order to move the imagery forward, sometimes it needs to go wrong, when this happens you are forced to reassess and to learn to trust your instincts. 
With this in mind, a new group of images have begun.

Highly organised working space

Starter for Six

Images begin to suggest themselves.

Changes emerge.

Everything is in a state of flux, what I have to say and how it's said is not fixed and should not be fixed.



This is naturally difficult and open to failure.
 

I recently saw the Prints of Wilhelmina Barns Graham which was a real uplift, her use of colour and gesture resonated with me and Lynne Green who has written a number of books about WBG gave a very insightful talk. Another uplift came after Lynne Green had seen my work and made some favourable comments. All this came at the right time, sometimes it can be difficult to sustain belief/ energy when immediate references are not always there, this is particularly true when not working in a collective studio environment.
As usual the following images are open to reworking but at this moment ...

stage 10

stage 12

And finally - Printing the Innate. I have been fortunate to have received funding to embark on a series of etchings at Edinburgh Printmakers.  In my application I asked for the opportunity to fully immerse myself in a period of research into the potential that the ‘process’ of Etching offers. By default Etching is process dependent, from plate preparation to final printing, including the stages in- between and believe that a minimum of 10 sessions is needed in order to allow me to explore the ‘magic’ that can occur. I can't wait!

Visual Artist and Craft Maker Awards: South of Scotland 2013

in partnership with Creative Scotland