Today I met the third and final AA2A colleague, Clais, which was fascinating. We had a healthy chat, and will be comparing notes by email shortly. I had been preparing the aluminium plates at the end of last week, and today was able to start two new etchings: one figurative, of a female on starting blocks, and another of a view across a working port. The fumes from the hardground were very strong and I had to open the windows as wide as possible. The University was officially open today so car parking was free and there were plenty of proud parents ambling around with their offspring. No doubt as they walked past the Print room window they were wondering what was cookng. I used a machine tool into a relief block print, and can proof that on Friday. I also checked into the library, and shall be taking out some reference material. I think the format for showing the prints in the June exhibition will be a slide show in the darkened video space. Now I need to source a projector for the five day duration. Outside all the daffodils were at their best, the hockey pitch was in full use, and I noticed the trees in bud. Spring has arrived.
This afternoon I met two of the other three AA2A artists which I found really interesting, Jane and Paul. We hadn't met before and it was fascinating to hear their ideas for the exhibition in June. As they were discussing their ideas, I could feel my ideas immediately expanding and developing. The four of us will participate amongst a much larger group of students, staff etc, approximately four exhibitions alongside one another by the sound of it. Let's hope it gets the coverage and footfall it deserves. It should be a healthy mix of video/film, installation, photography, drawing and printmaking, and that's just us four.
Today I degreased and added a hardground to the etching plate.
Whilst that was drying on the sunny window ledge I added the second colour (black) onto my lino cut. The edition of twenty was easy and quick, and the registration worked well. The results were graphic and striking. There is a simplicity about a three colour lino cut that really appeals.
I then returned to my etching and used the etching needle to cross hatch into the shell forms and etched the plate for twelve minutes. The resulting proof showed dynamic, rich, velvety lines. I now have two working methods/vocabulary for development in future.
Also briefly experimented with a small postcard sized piece of Balsa wood which I had on me. Ran off some black proofs and intend to overprint once I've dug out the image with my electronic tool. Last time I used a biro to make an indentation but could only go with the grain! Handy though if you're travellimg and need something super light to use as a "plate".
For the past few weeks I have been experimenting with Monotype techniques which have yielded great monochromatic results. Today I have started to experiment with a new Saline Copper Sulphate Etching technique and the results are looking very encouraging. In both cases I have translated figurative studies ( drawings and paintings) into these printmaking media. A few of the monotype results can be seen on our website: www.powishayward.co.uk
26/2/07 Yesterday I proofed and printed 20 copies of my new linocut relief block print, "Shell + Rock", in burnt umber onto Japanese paper. I then cut away the areas I wish to remain burnt umber, and will over print in black on Friday. I was pleased with the results. There is a fresh, graphic quality to two natural, organic objects, and I like this contrast. It was Spring-like day and I had the window open, and could hear snippets of student conversations outside in the quad. I then proofed the Two Shell etching I am working on, and scraped back into the dark aquatint on one of the shells, in preparation to put on a hard ground, and work some lines describibg the complex shell form into this area afresh. I enjoy working between two processes, ie lino and etching, because it keeps me on my toes, and the results are so very different. The only downside of working in an academic institution with no storage facilities is lugging all the equipment around. I'd intended to bevel the edges of some copper plate which I'd taken, but ran out of time, and the tin of etching ink was unneccessary, because there was some available this time. Oh well, my arms are a little longer. The nomadic artist lifestyle!
