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By: The Regional Print Centre at Yale Wrexham
This project is an experiment and will seek to explore the experience of working collaboratively. November 2008 we had a meeting of members of our professional printmaking team, students from Wirral Met, University of Wales in Bangor and Glyndwr.
# 73 [31 March 2009]
Managed to scan the whole image......Pam
# 72 [31 March 2009]
While I was researching images for the Sanctuary Hut Box I found some 'natural' prints on the beach that had been formed on the rock and the sand by water leaching down. I put them on only because I thought they were interesting - I particularly like the rock 'tattoos'
# 71 [31 March 2009]
Wrexham Project Sorry I missed the meeting with you all, this is my response to Almas work and how I got there: My commissioned doorstops arrive, perfect. I print my images onto lazertran, now comes the tricky bit, you have to soak the backing off, let them dry again, apply pure turps to the wood, lay on the lazertran (which by now is very brittle and fragile – don’t try and move it because it disintegrates causing much swearing and starting again) leave to dry. Not wanting to touch the surface again I buy some spray polyurethane varnish to coat and protect the images, this also allows eliminates the opacity of the transfer and allows the grain of the wood to show through and become part of the image. I was hoping to try some Gum Arabic transfer printing at Badger Press having been invited to share the studio and the cost! Frustratingly this got cancelled at the last minute so I had to try it at home. It took me a while to get the hang of it as I hadn’t tried it before, basically I wasn’t using enough water to take the ink of the white areas. Once I got the hang of it I did get some good prints. I think they might have been better with a press instead of rubbing by hand, I had to improvise by laying an acetate over the gummed copy as it was too fragile to rub directly. I will certainly experiment with this technique further, I particularly liked a very watery effect and this went well with my beach subject matter. The colour is an ultramarine/burnt umber mix – grey blue sepia! The colour of memory. I used some of the prints to cut up and apply to a small box. This is the escape box. Alma’s interior shots spoke to me of not wanting to be trapped in domestic drudgery anymore, so when things get bad I hope she could look at this box. The title of the work is Sanctuary Hut Box, the images on the outside are of beach huts and pebbles. Inside is lined with found oilskin, pebbles, shells, and seaweed. There is a postcard, written on it is the experience of escaping for a day and walking on the beach. Then there is the doorstop, again with images of pebbles and huts. This is either to stop the door open, to allow escape, or to stop the door closed and stop anyone disturbing a private daydream. So this is my constructed place for Alma, a small safe place that can also be used to store her own mementos and memory triggers; and remind her of a much bigger place outside the confines of her daily life. Louise Tett
# 70 [29 March 2009]
My scanner isn't big enough to show you the whole piece, but here is a detail. Pam
# 69 [29 March 2009]
Nothing came for ages as a response to Sue's luminous monoprints....then I started to think about connections between waiting and watching. Poor steadfast St. Kevin's stillness and patience and the endurance of the watchers scanning their inmates or their CCTV screens.
Half way through some gum lithos - will show you later! Pam
# 68 [19 March 2009]
As you will be aware the project is coming to an end very shortly. We will be meeting on Monday morning (30th March) at 10.30 in the Memorial Gallery at Yale College to discuss the project and view examples of one another’s work. Please let me know if you are able to attend.
# 67 [18 March 2009]
I've been working on my response to Janes work. I wanted it to have the sharp line that my paper stenciled screenprints allow but to also include delicate mark making like Jane’s.
I've completed the screenprinted part but as yet I'm not sure how I'm going to approach the other part. I like the print how it is and am worried about changing it now.
# 66 [14 March 2009]
Scot and I have both been working hard on our core work and our print elective for our degrees. Scot has been looking at litter and stains and this is juxtaposed with my work, which is about crossing the River Mersey at the start of my childhood holidays in North Wales. This merging of ideas highlights the idea of going on holidays in the countryside with the reality of city grime.After Scot and I had combined our images via email using Photoshop, we decide that we should use a combination of both our ways of working. My image I transferred to silkscreen whilst Scot had made an etching plate. Our problems began when Scot showed me his etching plate. What had appeared to be a large image on the screen was in fact about 4 x 6 inches (100 x 150cm) in actual size. So the obvious solution was to make a Photo-polymer etching plate.
I have inked up the plate using black intaglio ink and printed onto damp cartridge paper. The contrast between the two images was not great enough with the first image I printed. On the next print I left more ink on the ‘clean’ areas. This was more successful, and the third attempt was even better. However the print is a little disappointing because of its lack of depth and I hope to experiment by using some colour on the next print.Chris Taylor
# 65 [3 March 2009]
In response to Pam's 'St Kevin' and to Seamus Heaney's 'St Kevin and the Blackbird'.....looking at releasing the saint from his cell into the panoptic world.
The lower two prints are also related to freedom and surveillance.
# 64 [26 February 2009]
Have caught up with Patricia this week and we have exchanged our thoughts on the monoprint/screenprint we are both working on. So far the prints have a sense of quiet woodland place about them. They have an organic atmosphere with the shapes and shadows within. Looking forward to the next layer of colour going on. We messed up a bit over the sizing. I thought my monoprint was the same size as Patricia's screen, but her image is smaller. This is making it more interesting and Patricia is going to move her layers around to make it more ambiguous.
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The Regional Print Centre at Yale College in Wrexham is a joint partnership project between Yale College and the Arts Council of Wales. We provide open access printmaking facilities to artists and designers from across Wales and beyond. This project forms part of our unique professional printmaking diploma programme.