Monday, 9 February 2009
A Look at My Working Methods - Part 1
I owe a debt of gratitude to fellow printmakers , Peter Wray, a fellow of the Royal Society of Master Printmakers and his partner, Judith Collins. A couple of years ago I enrolled on one of Peter's collagraph courses at The Hand Print Studio and it revolutionised the way I work especially in the way of inking up the plates.
I have a stash of collagraph plates that I made a long time ago when I was first starting out in printmaking with Rebecca Vincent and I have begun revisiting them. The resulting prints are 100 times better than the prints I made from these plates originally. Some of these plates I had discarded as right offs. They were not worth any effort because I was so disappointed with them but never got round to chucking them out.
It is so satisfying to be able to see the potential in them and get a good result this time round. This has fed into my fascination with colour and how it influences one's perception of an image. So unlike most printmakers who create limited editions of their work, I rarely edition mine. Instead each time I print from the same plate I choose a new colour palette or play around with an existing colour palette so that each print from the plate is an original. It is the same image but the colour changes the mood, the time of day, the season of the year. Far more interesting for someone with the attention of a gnat. See the two examples above.