Saturday, May 19, 2018

A Second Glance

Back in February, I blogged about printing with weeds, see my post here.

The printing of weeds was part of a larger work originally called 'Dispersal', made up of about 50 monoprints of weeds on the inside of business envelopes.

I wanted to exhibit this work in a local group exhibition 'Tightrope' that had an environmental theme, but 'Disperal' was too large.   So I reworked my ideas to present a smaller work and reworked artist statement that reflected the theme more precisely.

The new work consists of 8 prints spaced on the wall into an area 1 metre x 1 metre.  To me, having only a few prints can have less of an immediate impact (I love repetition and making multiples), but the intimacy of the smaller work does beckon the viewer to look closer at the detail in the prints.

Sometimes its a challenge to rethink my ideas about my work merely to comply with display requirements, but on reflection, perhaps those challenges are a good thing.

For those living in Brisbane or South-East Queensland, here are the exhibition details:
Location:  Pine Rivers Gallery, Strathpine
On until 4 August, Monday to Saturday 10-4
I'll be at the gallery on Wednesday 13 June running a workshop on Drypoint printing with a pollinator theme.

There's some really interesting works that caught my attention including sculptures by Mary Barron and Kym Schoenberger and a video work by Deborah Eddy.

My artist statement:
Exotics. Aliens. Weeds.  There are many ways to describe those plants that pop up in places where we don’t want them.  We continuously uproot and poison our urban landscapes to rid ourselves of these spontaneous opportunists.   But perhaps we should pause and take a closer look to appreciate the important role of weeds in revegetating contaminated city spaces and providing habitat for connected species such as pollinators. 

'A Second Glance' seeks to readdress the imbalance and elevate the image of the garden weed.  The often unnoticed elegant patterns within a business envelope provide the background to showcase the weeds' hidden beauty and grace.

The work 'A Second Glance' on display at the
Tightrope Exhibition

Wednesday, April 25, 2018

Adding to my art toolkit - Part 2

In my last blog post, I talked about adding to my art techniques toolkit.  As well as the collagraph plates I discussed in my last post, I've recently been learning about Polyester Plate Lithography.

Lithography is a 19th-century printmaking technique traditionally used with stone and a lithograph press.  In recent years there has been an explosion of using different matrixes such as foil, metal, and now polyester plates.

Lithography is based on the idea that oil repels water.  Simple!

Polyester plates are relatively inexpensive and allow prints to be created using direct drawings onto the plate, drawings scanned and laser printed onto the plate, or digitally printed images onto the plate such as photographs.

Inking is via roller and oil-based inks, and printed with an etching press.

I was introduced to the method by artist Nicola Hooper last year in a short workshop and I was hooked by its simplicity and the direct connection between drawing and printing.  Since then I've undertaken workshops by artist Jenny Sanzaro-Nishimura and also Charles Cohan, Professor of Printmaking at the University of Hawaii.

This is another technique that I can combine with other printing techniques, including monoprint and cyanotype.  Nicola also tells me that she uses it to produce text for her artist books, something I must try.

The possibilities are endless with the potential for editioning - something that I miss in monotype printing!

Rolling up the ink onto the plate, with washes of Gum
Arabic and water

Heating the plate after drawing to set it
The three plates I created - left "Sparrow' is a drawing with
a litho crayon and black Sharpie pens, middle is a
plate created from a photo of Noisy Miner birds,
on the right is a plate printed from a scan of Kangaroo Grass.

The 'Sparrow' print.
I like the drawing prints the best, they
have a beautiful textural quality.

Saturday, April 14, 2018

Adding to my art toolkit

In the past month, I've been adding to my art tool kit.  Not new brushes, inks or papers (I've got more than enough paper!), but adding to my printmaking skills.

Last weekend I hosted Jet James from Yeppoon for a workshop exploring creative approaches to collagraph plates.  He uses a PVC plate which gets around the problem of having to seal the plate with multiple coats of shellac as you would with book board etc.  It also allows the use of some ingenious materials and drypoint techniques.

I enjoyed the creative process of creating the plates using a combination of embossing, drypoint and collage, giving a variety of marks and textures.  The 'busy-ness' of imagery on my plate is what I really like when I'm doing my monoprinting.  I can see that I can combine my monoprinting techniques with these collagraph plates, and am looking forward to playing more with it in the coming months.

During the workshop, we also had a play with inking using more than one colour, which gave beautiful images but in a workshop situation of a group of 10 keen printmakers was very messy!

My bee print.  I've explored this bee image in drypoint and
lithograph, so its interesting to see it in a variety of

Wren print, multicoloured inking.

The Wren plate and print in blue-black ink.

The chaos of multicolour printing.......

Show and tell at the end of the workshop.
Great prints, great group of people!

Thursday, March 22, 2018

Autumn Leaves and monoprinting with my Gelatine Plate

I live in a sub-tropical climate so I don't see a lot of autumn colour in the trees in my local area.  So a recent holiday in central Victoria in southern Australia gave me the opportunity to collect and print with some different leaves.

As I was traveling around for a week in a motorhome, I had to work small and light,so I packed my 5 x 7 inch Gelli Arts plate, a small roller, a few tubes of paint, some papers and my bookbinding kit. 

I did a series of prints using two different leaves, in two colours.  I then cut up and constructed the prints into a pyramid-style book [thanks to Jill for the design].

Each of the 'pages' is a square folded diagonally both ways, then with most of one of the triangles cut out to form the shape once glued.  They are all then stuck together [I used double sided tape]. 

Its been a great little portable project that I worked on over a week from my mini-studio space in the motorhome [doubles as a dining table].  I'm always happy when I have an art project to work on, even if I'm enjoying a holiday with my partner at the same time.

As they say "Happy Wife, Happy Life"........

Printing with the gelatine plate, I can feel the serenity.....

One of the prints, two colours, two types of leaves.
I think that this is a failure-proof combination.

Cutting out the book components - four squares of three different sizes,
printed on both sides

Creating in my motorhome studio [dining table], too bad
if we needed to eat!

Folding the book pages, accuracy is always a good thing for less
wonkiness in the finished book.
The finished book opened, with ties.

The underside of the book, I did the prints
double sided so the underside would be interesting as well.

The book closed.  I made some covers from thick paper and left
over prints, and some tapestry yarn from a local charity shop.

Wednesday, February 28, 2018

Bringing an idea to life, one vessel at a time

I've been reading a lot lately about the fragmentation of natural habitats.  The colonial occupation of Australia has irrevocably modified the character, extent, and connectivity of natural bushlands and eco-systems, creating islands of remnant wild areas in a sea of agriculture and urban development.

As a creative response to that idea, I thought of organic vessels - multiples, lots of them.  Vessels are containers that hold and restrain, isolating their contents from their surrounds.  Having a collection of individual vessels gives me that feeling of disconnection, responding to the idea of how fragmentation of habitats leads to negative impacts on biodiversity and survival of native plant species.

I've also recently started exploring the making of cloth paper - its an ideal technique with which to make 3-dimensional shapes.  The layers of paper and cloth can be formed over shapes such as bowls and mugs, using diluted wallpaper paste to 'glue' the layers together.  A sort of adult paper mache.

Using the cloth paper technique, I decided that I would try to create 75+ bowls of varying sizes.  I really want to make an impact on the viewer.  So far I've made about 40.

Before I could start to make the vessels, I had to prepare my papers and cloth.  Firstly monoprinting (of course!).  I've been monoprinting with ferns, grasses and leaves in aqua blue and black onto lightweight papers such as tissue, paper patterns, and kozo.  The idea of using plant imagery in the vessels is to capture 3-dimensional representations of their fragility and impermanence, referencing the impact of fragmentation on biodiversity.

Then I've rusted and eco-dyed cheesecloth and light cotton fabrics to get natural browns, greys and light orange tones.

The resulting series of vessels I've titled 'Containment'.  A work in progress, I'm only about halfway but still enjoying the creative process.  I hope that the completed artwork will inspire and educate others.

Friday, February 23, 2018

Finding the beauty in the odiousness of weeds

I've got an unhappy relationship with weeds in my garden.  Technically they may only be weeds by definition (just plants in the wrong place), but there's one particular 'plant in the wrong place' that really gets me angry.  Its 'Red Caustic Weed'.

So what's an artist do?   Print with it, of course......!

Since 2016 I've been working on a piece entitled 'Dispersal'.  Its a collection of monoprints on repurposed envelopes that describes the journey of weed seeds assisted by humans.

In my day job as a bookkeeper, I have been collecting envelopes of varying sizes - the business type ones have beautiful blue patterning on the inside, which forms the background of my prints.

Over time I have been collecting the weeds from my backyard and local parks.  This process changed my behaviour towards them – I treated them more kindly, nurturing them like I would my own treasured garden plants, pulling them gently from the ground to preserve their roots. 

Printing with these weeds made me realise that, in print, they were just as beautiful as many of my other garden plants that I use in my art practice.

One poignant example of this is the "Red Caustic Weed" - this weed has been my nemesis for many years.  Its a prostrate introduced plant which self seeds readily and pops up on my gravel paths and in my garden beds.  I really hate it!  But when I recently found a particularly large one, I carefully pulled it from the ground and placed it between sheets of newspaper under weights for a few days - this removes the excess moisture and flattens it nicely.

And it has produced the most wonderful prints.  The leaves and flowers are clearly discernable, the root structure is very fine and descriptive.  Its my favourite weed print for my 'Dispersal' project.

So, I guess maybe "Red Caustic Weed" is beautiful in its own way.  Next time when I'm scanning for annoying weeds in my garden, I'll try to remember that.

Red Caustic Weed

Second print off the plate with plant on it.

The very flat weed after running through the
press a couple of times.
Revenge is sweet......

Revealing the print, the best moment in a
printmaker's artistic life.

I just love these root prints - gorgeous expressive lines
Results of my latest printing session

The beautiful blue patterns on the inside of business
envelopes - this is a Telstra one.  Good for something!

"Dispersal' installation at Miles Gallery 2016 -
I've been adding to it since then.

Monday, January 22, 2018

Monoprinting over the Christmas Holidays - Part 2

I've been busy printing over the Christmas break, exploring a few different monoprint directions.

I blogged last week about a series I created of Magpie prints, using minimal colours.

My second series of works was based around some leaves I picked up whilst mountain bike riding - they were beautiful fat, dome shaped leaves which I thought would make a great background on a circular plate.  I also cut a new stencil of a Willie Wagtail bird using my soldering iron on thin plastic - makes great edges.

Below are photos of my print sessions and the resulting prints, enjoy!

A plate in progress, showing the layering of objects
that will produce the wonderful textures that I'm addicted to.

The leaves....such character!
Luckily they fit into the pockets of my bike jersey.
And yes the ride was fun though of course I fell off (again).

The objects I used in my print series....I like to work over and over
with the same objects in one printing session.  The colours
get better the more I use an object, so it doesn't make sense
to keep changing unless its seriously not working or the object
breaks apart.
A print with two plates - one square and one round.
One leaf and one stencil.

Wattlebird print.

Willie Wag Tail print - too cute!
Note the aqua colour again - its my favourite....

Using Prussian Blue for the Willie Wag Tail,
instead of black.  I think it lifts the print a bit,
or maybe I just like more colour!

Print using the reverse side of the stencil,
with all the colours picked up from the plate and leaf
in previous print runs.  Delicious!

Monday, January 15, 2018

Monoprinting over the Christmas Holidays - Part 1

I've been busy printing over the Christmas break, exploring a few different monoprint directions.

Firstly, for an upcoming hospital exhibition, I needed to print very large - my plate was 68cm x 46cm - the largest monoprints I ever done.  The large size provided a few interesting compositional challenges, and I also had to make use of my large studio etching press (which is always a pleasure to work with!).

I also wanted to try a new style of just one major colour, highlighted with a black image.  That's quite a challenge for me, given I tend towards 4+ colours and tons of mark making.  Holding back and keeping it minimal isn't easy!

Because I was working big, I did some smaller test prints just to see how my theory would work.  It turned out to be a great idea and gave me plenty of confidence when I had to tackle the bigger prints.

Three of the six successful prints will be exhibited for six months in a local private hospital, alongside some scrub turkey and leaf prints.  I have titled this Magpie series 'The Sentinel' referencing the territorial behaviour of magpies. 

This was my paper soaking 'tray' - a garbage bag as I didn't have a tray or
tub large enough!  Not perfect but worked OK.

In progress - leaves and Magpie stencil

Of course I printed with my favourite colour - Aqua....!
I just love it on these gorgeous gum leaves.

One of the finish prnts.  I couldn't help myself and snuck a
bit of green in there to add a bit of 'pop'!

This print is just aqua with the black caroling Magpie.
Simple and as minimalist as I can get!

I'll blog next week about the second series of monoprints that I did over the holidays.

Friday, December 15, 2017

Experimenting with Cyanotypes

Together with my printmaking friends at Migaloo Press Collective, we've been playing with cyanotypes.

Cyanotypes are created using a photographic printing process where two chemicals painted onto paper (or fabric etc) and allowed to dry in a dark room.  Objects are then arranged on the paper, and it is exposed to the sun to develop.  The exposed paper around the objects develops a cyan-blue colour, leaving silhouettes and shapes of your objects.

Great fun!

Migaloo Press did a play-day, lead by Jen who has experience in cyanotypes.  I had done some years ago but was keen to update my skills and to use cyanotype chemicals I had stored in my art room (on the 'must do' list).

I've captured some of my experiments in the photos below, but I plan to do some more exploring and developing alternative colours using tea and vinegar.  I think this is my Christmas holidays project!

Exposing the paper, with leaves and stones.
Its behind glass to ensure good contact and so that
the leaves don't blow away.

The resulting print from the exposure in the previous photo.
It was a cloudy day so this is a pale print even after 20minutes exposure time.

Another exposure, with a bee image (cut from paper), sedge,
string, talc, and a hexagon stencil.
I'm not a minimalist as you can see!
This exposure only took 5 minutes as it was
 a bright sunny day.
Cyanotype print using Shepherds' Purse weed, talc, and a paper stencil.

The same cyanotype print with a lithograph printed
on top afterwards.