Playing around with stencilling onto Chinese-design wrapping paper. These are quite small experiments – approx. A5 and A4 size; thinking about culture as a kind of imprint.
This is work in progress I think – I’ve been trying to work bigger (approx. 74x140cms) and also want to see how I can use printmaking as a means of mark making and/or keep a sense of repetition but maintain difference and individuality within the multiple. So there will be more of these to come and I am planning to layer them up even more, though I think I will leave this one as it is.
I have new charcoal drawings at Brew, Folkestone in BRINK, a group show curated by Karen Pamplin Browne.
- the edge or margin of a steep place or of land bordering water.
- any extreme edge; verge.
- a crucial or critical point, especially of a situation or state beyond which success or catastrophe occurs
Brew is at 83 Cheriton Road, CT20 1DG and the exhibition runs until 21 October during opening hours. All the work is for sale.
Excuse the poor photo.
There is a curator and artists tour and discussion on 3 October from 7-8pm.
I will also have some monprints in Print Fair II at the Brewery Tap UCA project space, also in Folkestone, from 19-23 October.
The drawings and prints are all relate to Folkestone’s Lower Leas Coastal Park and reflect my continued interest in the theme of gardens – defined broadly to include public parks and other bounded constructed natural spaces – as sites of invisible labour, a theme I began to explore during my residency with the Wealden Literary Festival 2017.
I have discovered some amazing new frames from Germany – They are magnetic and are so easy to use; it means work can be exchanged with no hassle and there is an option to make them more secure. The only difficult bit is working out the size and mount etc. Also I had a bit of trouble initially understanding what was meant by insert frame, but actually it is just a way of creating a distance within the frame for pieces that are not float mounted so that the glass doesn’t touch the work. They are not cheap but by being able to swap work around (has to be the same size obviously), I think I will save money in the end. The mid-grey aluminium finish is working beautifully for my charcoal drawings that I am showing as part of BRINK (pic to come).
Apart from that I’ve been teaching myself to mount my work on Chinese paper using wheat starch and another think piece of Chinese paper. It is a bit or rather highly risky but I’m getting better at it.
Rather dreading the prospect of a knee replacement and not being able to get to the studio much next year, so strategy needed for work I can do sitting down!