Printing the engravings has revealed many new possibilities. The quality of the engraved lines is extraordinary, very much like a drypoint, with the ink not only collecting in the intaglio cut, but in the burr of the aluminium resulting a beautiful soft, velvety line. I also added drypoint to enrich the contrast of line quality.
The ‘happy accidents’ (the thing that inspires me most about printmaking) occur most when printing with two plates, the first being a pseudo aquatint created by applying caustic soda to specific areas of the aluminium. I inked this up in a colour: pink, yellow, teal… and then printed the second darker engraved plate on top. So many unexpected surfaces and ink juxtapositions evolved – and far more exciting than had I planned them.
Since making proofs, I have editioned the plates ready for exhibiting.
I recently acquired a book on the textile designer Tibor Reich, he was big in the 50s and his company, Tibor, is still going; he took mundane photos of close-ups of nature (mud, bark etc.) and repeated them to create beautiful designs – familiar territory for me, inspirational all the same. I decided to play with mirroring my prints digitally, unexpected images appeared which worked well on many levels: powerful forms when viewed from a distance and when viewed close up, intricate patterns and shapes reminiscent of Boschian creatures and flora.
It has been a year since I first made the photos of my blood cells and the period of time for me to ruminate and live with the images has been important: to reduce the risk of them being merely illustrations, they needed to not only be distanced from their origin as photos of cells, but needed to take on a life of their own, developing through the creative process.
I am now starting a series of large engravings (80cm by 140cm) inspired by the mirrored prints. The larger scale will give me much more scope for ‘happy accidents’ and will hopefully result in more powerful and exciting work.
