New work in progress

This is a new idea I have been playing with recently, amongst some others. I've been collecting burls (and I really don't know if this is what they are called) in the forest whenever I am hiking. They are remnants of old parts of trees that were either knots, or placed in which branches formed. Once they have broken down enough, they form these cool shapes that I would love to do something with. I really wanted to work with these but I am certainly a little apprehensive, since I really haven't done much in the way of 3D work for a long time. This is the first one I have worked on. I sanded it down...patiently, waxed and buffed it and then added some weathers. It's still in it's very early stages but right now I picture a collection (of better executed samples) in the form of a kind of Victorian collectors case with a number of specimens pinned to a white background. I'll keep working on it, but I thought it was important to make a new post here, since it's been a while. 

Mezzotint Workshop

Last weekend I attended a one day mezzotint workshop at UAA led by visiting Canadian artistGuy Langevin. Guy really is a master craftsman, an artist, a poet, a teacher and also a nice guy to spend a day rocking copper plates with. So here are some photos of us doing just that.

After 5 hours working on a 2.5 by 3 inch piece of copper, I had just about rocked it to a point where it would print a nice velvety black.

My handywork and tool.

This is a photo of a section of one of the prints guy shared with us. One of my favourite things about his work is the way he makes the process visible. Here you can see the lines he rocked into the plate and the variety of angles and density of the marks.

Cottongrass Etching

This is one of a series of etchings I have made of the tired old cotton grass in my back meadow this Autumn. I have etched 7 plates so far and printed 3 (in an edition of 3 only so far). This one is an entry for a print exchange organised by the University of Alaska Anchorage (UAA), which is involving a number of other universities throughout the country. Each institution will select 5 students to participate in the exchange, which will involve printing an edition of 25 - so this was something everyone was advised to keep in mind. The prints selected will then go on show at the UAA student gallery and may also be shown elsewhere in Anchorage.

This is the 25 edition version of this image. My full intention with this series is again to cut out 'feathers' from screen printed tissue papers to add to the etchings. I want to give the forms a weight (that this image lacks) so that the grass appears heavy and dead. The colours are also taken from the changing tones in the meadow behind my house in Autumn.

These 'feather/leaves' were painted on using watercolours. I like the colours and the delicate texture of the paints. I may yet add to the image in some way.

Cotton Grass Drawings

It's not much of a posting but here are some drawing I did back in October, before the snow came. I did a lot of quick pencil drawings. My favourites are of the really old and tired grass that has lost it's floaty, fluffiness. These are just a few. They are not great scans either because they are quite pale drawings for the most part on beige paper. I am currently working on a series of etchings of single cotton grass plants. My plan is to work in to the etchings once I have them all printed, possibly with some 'feathers', like those in my previous post, but with a different slant.

Close Ups

Some close up on the 'feathers'.

New Work

Well, it's not really new, but I haven't posted it on here until now. These are a couple of etchings I started last winter, based on drawings of hoarfrost crystals and some research into the way they form. I etched the line drawing onto a copper plate and printed that on warm white Stonehenge paper. I then printed a rainbow roll of Akua inks in a blend of colours inspired by the colours of shadows on snow. This was printed on tissue paper. I then cut these up into tiny 'feathers' to be stuck onto the etchings later.

I intended on a set of three but then decided on just two. To me, these pieces are themselves finished, but also a starting point for further work.

Portland Printshops

I was in Portland recently for the Marathon and took the opportunity to visit a couple of Printshops. The first, Atelier Meridian is a for profit printmaking studio set up and run by Jane Pagliarulo. They were having an Open Studio event so I was able to pop in, take a little look around and chat to Jane and a few of the members. The studio offers 24 hour access to it's presses and other facilities as well as offering workshops to the public.

The second Studio I visited was Flight 64 on NE Alberta Street. Tucked down a small alley, Flight 64 is a non-profit co-op based studio which also offers 24 hour access to its members. This studio had more of a feel of a grass roots organisation with some home crafted facilities and tools that reminded me of the print room at UAA.

It seemed like a great studio to visit and compare with Atelier Meridian. Heather, who seemingly is doing most of the running of the place right now was happy to welcome us and tell us all about the studio, how it got started and how it runs. She was full of advice and support should I plan to open a studio here in Anchorage and her enthusiasm was infectious. I am sure I will be in touch to pick her brains at some point in the future. It was certainly inspiring to see what a group of people could put together, with some help from some generous donors along the way. Food for thought.