Sunday, 29 December 2013

The Year of Solar Plate

Having reviewed Cowprint's year, it makes sense to look back at my own creative achievements during 2013.

Creatively, the year got off to a slow start as the chickens were keeping me busy with mycoplasmosis, eye operations and feather-plucking, as well as the usual round of mucking out ans feeding etc, so I didn't really get back to printmakung until March. We had dates in May for our first Cowprint exhibition, Imprint, so that spurred me on as I felt that as founder and chair of the group, I ought to produce a new image. Our first session of the year had been a New Year, Old Project session where we had dug out images on which we had got stuck and bounced new ideas around. This was particularly successful for me as got this image going again and finished.

'Roll on civvie life!'  Etching and aquatint


There was a lot to organised for the exhibition and private view; advertising, the hanging, list of works, drinks, sales sheets, browsers etc. All good experience though and the exhibition looked great.  

My next project was to make my edition of 25 prints for the 20:20 print exchange run by Hot Bed Press in Salford. I've not done this project before and it's been a while since I made such a large edition (I'm not a great fan of editioning), but actually, I really enjoyed the whole process. I only pulled a couple of duff prints which signalled to me that my printing skills are vastly improved since my last biggish edition. The spit bite element of this image worked quite well too; need to explore this further.

Alektorophobia - etching, aquatint and spit bite

I've been feeling for some time now that my work needed to change direction; move on as it was feeling a little stagnant. I'd been thinking about adding extra elements, diagramatic elements and layering so in June, I did the solar plate weekend course at Red Hot Press as I thought this technique might help me speed up my processes. What a revelation! Solar plate gave me exactly what I needed in that I can use it in conjunction with etching and drypoint, printed intaglio and / or relief. The plates are quick to make and the quality of the detail is so good, I can use it to make images that would take me ages to etch and wouldn't give the effect I'm after. Here's the two-plate print I made on the course, one printed intaglio, the other relief.

'Singing Masons' - two-plate solar plate print

After that, work began in earnest on the Cowprint calendar image, a panicked combination of solar plate and drypoint as I didn't think I had time for an etching. As it happens, it worked out really well. Thank the gods of printmaking for solar plate!
'Io Saturnalia! - solar plate and drypoint print


The organising and marketing of the calendar kept me pretty busy throughout the summer 
and Autumn; it was a new experience for me working on this sort of commercial venture.

During the Summer I had work in three shows; Double Exposure and Spellbound both at Wool House, and the Red Hot Press Summer show during Open Studios. I did some volunteering at Wool House during August which was great - historically interesting and I met some lovely people.

September was all about the calendar but I also managed to squeeze in a quick 3D project - some drypoint on a plastic piggy bank for the charity fundraiser Go Pig! It was a bit last minute so didn;t work out as well as hoped... I'd quite like to try something similar again though in the interests of getting my prints 'out of the frame' so to speak. More thought needed about this.

Homage to Francis Bacon - drypoint on plastic piggy bank
 





















In November my December print hung alongside my fellow Cowprinters' calendar prints at Red Hot Press for Printer Wonderland; it was sell, sell, sell those calendars! The d.@rt Centre Christmas Fayre at the beginning of December was another first for me. Again, lots to organise but good experience.

In between all the calendar and pre-Christmas hustle and bustle, I still managed to find time to work on my last print of the year, The Chicken Murderer. In this print I was able to combine etching with solar plate for the first time in a two plate print - most satisfying. I've been using more colour this year too... not consciously, it's just the way the work has gone. This too is a good thing.

The Chicken Murderer - Etching, aquatint and solar plate


So, 2013 was a very productive year full of new ventures and exciting developments and I am very happy with the way my work is travelling. Time now to think about planning for 2014.

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