Over the last couple of months I have been exploring ways of printing and making marks without carving the surface. Through only pressure, gravity and colour I have been producing these print paintings. Through memory of what I have seen on my travels, place to place in the U.K. and abroad, I explore abstract ways of forming printed paintings – bringing to the surface forms I have seen in the landscape or in the towns and villages. Moss, lichen, peeled paint on doors (an obsession of mine), eroded rocks and objects found in the landscape I cycle and walk upon.
Through the accidental and intentional, allowing the Taoist/Daoist principle of ‘living in harmony with, and in accordance to the natural flow or cosmic structural order of the universe’, I am interested in removing intentional placements of colour and marks from the hand of the artist/ brush. Here I allow the tackiness of the material to stick and bind with previous layers, with gravity and pressure placing the ink where it needs to go on the surface.
My role as the artist is in shaping the circle, choosing the colours and placing the paper on top of the printed surface. Through layer upon layer, each layer of ink forms a transference, capturing a moment within the strata of colour, until the image seems to imply it has had enough and needs to dry.
In some ways I am exploring replication of Nature, fractals exploring forms and marks made through chance occurrences and phenomenological elements playing their part in the formation of the final image. These ones are small studies that will inform the process for some larger explorations.
