Current member of Ochre Printroom - Guildford
and Windsor Artists Collective
My 2022 work explores spatiotemporal boundaries and a journey through the natural and urban landscape. I try and break down an object to reinterpret it both sequentially and simultaneously creating a dialogue that investigates the purity and beauty of an image.
In Ways of Being Alive (Polity, 2022), French philosopher Baptise Morizot notes: “By no longer paying attention to the living world, to other species, to other environments, to the ecological dynamics that weave everyone together, we are creating from scratch a mute and absurd cosmo”.
The series of screen prints I have been working on since January 2022 has been about the appreciation of opulent nature post-pandemic. The prints feature silhouettes of plants in isolation alongside patterns and codes resembling the amount of time we spend in the digital realm. Having produced a number of etchings from copper plates, I am currently exploring the aquatint and mezzotint process and developing an edition of circular plate prints of the moon.
Etchings and Screen Prints
A screen mesh is coated with a photosensitive emulsion and an image or object’s silhouette can be exposed with UV light on a vacuum bed. Once the stencil has been washed and dried, inks can be mixed and pushed through the stencil using a vacuum screen printing bed and squeegee. Each image in an individual screen and different stencils can be printed over each other. Adhesive can be printed and then embellished with gold leaf.
A wax ground is applied to a copper or zinc plate. This can be scratched into with an etching needle, when the plate is submerged in ferric chloride acid the lines drawn will be etched. When the plate is cleaned and the ground removed, it can be heated and inked up, ink is forced into the burr lines. This is then printed on damp specialist paper using a mangle or hydraulic printing press.
Variable Editions- Gold Leaf