ARTISTS TALKING

# 30 [4 July 2009]

The solo has been extended for another month, I've been adding extra pieces in printmaking experimentation as I complete them - an evolving exhibition, I like that - I'll bear that mind for next year.
I would like some finality of decision on whether or not I am able to confirm acceptance of the MA but the CDL reply is only to be considered after 17 July. So no cold feet and patience is called for.

# 29 [10 June 2009]

Absent from a-n but not from practice. Over the last five months I’ve experimented with solar etching, collographs, monoprints, screen printing and other disciplines which may, or may not, have a name. All preparation for a future MA.  A month long workshop exhibition with the resulting ideas and pieces generated through this exploration. I found workshop members willing to share their knowledge, give advice on everything from care of the workshop and materials, to techniques tried and tested. Eventually I hope, this experimentation will bring to realisation an individual body of work, of well considered new pieces, encapsulating many different areas of printmaking

# 28 [28 December 2008]

Looking back.
This year is closing down and a new year will soon begin.
Time to prepare 2009 resolutions: managing dedicated time to printmaking and painting, considering study opportunities and attempting to blend it all well with the rest of my life.   No point in considering that which I cannot have. I hand over the past to God for his healing blessing and look forward in hope.

# 27 [22 December 2008]

Installations exhibition; treat yourself - see this you must!
It was described as ‘total immersion sensory works’  if you’re living anywhere within distance of Oxford, drive to see this exhibition of seven installations involving film and music at Modern Art Oxford.
An artist partnership, Janet Cardiff and George Bures Miller provided a visual feast of objects, sensations and sound.  Riveted to my personal favourite, a whole room architectural installation called ‘Opera for a Small Room’ ; an elaborate environment drawing one into a captivating fictional world - nothing else seemed necessary, no explanations, just the wonderful qualities of sound and the unstated narrative.

# 26 [29 November 2008]

Focussing on the neutrality and strength of using only one colour I planned a London visit to Tate Modern. Presently engrossed in various etching techniques I found Rothko’s exhibition inspiring. His iconic paintings; the soft edged rectangulars  saturated with colour and his Black-Form paintings  were worth anyone’s time. Fortunately besides this, there were also numerous examples of etchings to examine.

# 25 [10 November 2008]

I’m unconvinced that exploring a new forest autumn for the purpose of a tentative exhibiting date in May has been useful. The release of expression has resulted in a slightly more optimistic frame of mind as I attempt to re-adjust to new directions. In comparison to past goals, all new steps seem inadequate incentives. I need to find purpose in the process, then the work will come.

I've enjoyed another browse through your website Caroline and looking forward to seeing video clips of the work from the first Inishlaken residency.

# 24 [16 September 2008]

A reason gone missing.
Despite a steep learning curve, not many resolved pieces are yet evident and an uncomfortable urgency of purpose grips me as my aspirations are once again deferred. With what is being called the worst financial crisis and the probability of a deep recession more likely, spending thousands on further study will have to wait.

This month was to be the beginning of a year at the Arts Institute and in preparation, many workable ideas through digital photography, painting and some printmaking have been gathered and developed. The next step involves growing them into complete pieces. A vast amount of work waiting to happen. It was a contentious decision to enroll in formal study for a year, a plan now dispatched through opposition, financial restraints and uncertain times.

And so, although still working towards original purpose and objectives, my blogs will remain as an incentive and record of progress. Perhaps now’s the time to use other blogs in search of information; after all, participation in  Artists Talking could be as it says - a unique space sharing the insights, perspectives and experiences of many working artists.

# 23 [16 September 2008]

Whatever one may think of Damien Hirst’s work, plagiarism sells. There’s nothing new under the sun and debased plagiarised scraps from religious imagery have proven lucrative. He leads by his example and many will follow.

# 22 [31 August 2008]

The Art of Deception
As a painter in search of more, it’s hard to resist the seduction of the digital photography / Photoshop mix. This insight into the imagination reproduced from the real, and presented as an even better reality, is today's trompe-l’oeil. The end results of many final pieces are made with the specific purpose of tricking the viewer even for a brief moment, that they are faced with the real object, rather than a two dimensional image of many images merged to create a more exciting whole.

The pleasures of the Bournemouth Air Show translated into creative pieces small or great are illusions of reality and, wonderfully so are a  rich source of inspiration, stored on my computer to be used at whim in paintings, print or design for years to come.

# 21 [13 August 2008]

With a topic selected : ‘embryology bill' and some newfound knowledge on solar etching, together with created digital imagery, I have begun some pieces.

Spent a day with writer Gill who pointed me towards new ways of presenting words and developing a personal book: further ways of expressing ideas within my selected topic.

The solar etching process is as uncomplicated or complicated as one would like. Simply, the drawn image is transferred to transparent film, exposed onto plates, the plates then inked and printed. The plates hold tremendous detail, generating images with excellent depth and delicacy of line. It’s a precise and yet expressive medium. I like that it isn’t expensive or hazardous as equipment often associated with intaglio, its safer and a more economical as a choice for printmakers. I’ll begin a series of etchings using this method.