Building depth

Over the past month or so I have been experimenting yet again. It is a never ending quest.

This time the experiments were with a collage technique to create more “relief” works based on the patterns on shore platforms that I have observed while walking.

Cutting the patterns out was something to relax with while listening to an audio book in the evenings.

Gluing the layers together was however a bit more tricky. I tried to paint glue onto the backs of the cut outs with a fine paint brush but apart from getting sticky fingers I found that the glue dried long before I was finished so that adhesion was not ideal. After that I used a model makers technique which one of my sons passed on to me some time ago. It involved mixing equal quantities of PVA glue and water and then quickly applying the mix as a wash to the surface of the backing sheet, sticking on the cut out and applying more wash then cleaning everything off before putting the piece face down on a glass bench with hefty books on top to weigh it down until dry. The PVA dries transparent and invisible – amazing.

With a small hot water bottle

Now that the broken arm is improving and I can operate the press, I am concentrating on preparing prints for my October exhibition.

I am working on collagraphs and lino cuts simultaneously. I had prepared the collagraph plates before I broke my arm. The lino cuts are 4 colour reduction prints so I have to cut more away after printing each colour and the cutting process is a bit of a struggle with the impaired arm even now. To keep the lino pliant I place it on a hot water bottle and Michael (husband) delights in making teasing remarks about my “wimpish” lino needing to be coddled and kept warm every time he sees me disappearing into the studio with yet another replenished hot water bottle.

I know that artists are supposed to freeze in their garrets and I am willing to suffer for my art but I have to keep on-side with the lino. It is hard enough bending it to my will even when it is warm.

I have been experimenting with combining one stage/colour lino cuts with a coloured collagraph background (see images). 

I use these backgrounds with the collagraph images I print too. I call them “generic” plates as they are all over stipple or diagonal lines which I do in 2 – 3 colours and then print a defined image in stronger colours over the top.

Monoprints

 While I have been waiting for the movement in my arm to improve enough to go and use a press at the print studio I use I have been working on a series of small monotypes which I can print with an also small, home made sort of press that I have. The press consists of two pieces of timber about 22 x 28 x 2cm between which the print is sandwiched. Then a clamp which slides up and down at the back and screws into a hole in the middle of the top bit of timber to press the paper and printing plate together. I have not actually tried to print with just this central clamp but attach about 4 other clamps around the edges of the timber just to be on the safe side.

Before I acquired this contraption as a school reject I used to brave my husband’s shed and use his bench vice. With two pieces of timber to sandwich my printing plate and paper inserted into the vice, I used to tighten up the vice and then add a few clamps around the edges for good measure.

While I am not sure that the techniques would work on a larger scale, both methods provide adequate pressure to print a 20 x 20 cm plate.

The monotypes are oil paint mixed with plate oil and painted on to a cardboard, shellac covered plate. 

Getting back to art and blogging

My break from both art and blogging was rather longer than anticipated after my husband tipped us both off the tandem bike we were riding in Holland and I broke my arm badly. Recovery is slow, there has been a lot of nasty pain and I still do not have full movement in the arm. However I have been back to making art for a while as fortunately I broke my right arm and am left handed. The break from blogging has been longer both due to feeling poorly and because I could not co-ordinate my two arms to work together on a keyboard.

Anyway…. I have been working on some paintings for my solo exhibition in October. I usually have drawings, paintings and prints in my exhibitions and as the drawings were more or less done and I could not operate a printing press with the bad arm, getting the painting finished seemed the best option. I have done four paintings, each 70 x 70 cms, two in blues and two in more earthy colours all on my current theme (where sea and land meet).

 The paintings seemed to work out to my satisfaction surprisingly quickly. Maybe it has something to do with the acupuncture. Acupuncture you say, what can that have to do with the quality of a painting. Well, in desperation I went to see a friend of a friend who is an acupuncturist as I had been in constant pain for months. We were chatting as he stuck needles into me (as you do) and he said he once had a patient who wanted to continue coming even though she was no longer in pain and when he enquired as to why, she said that she had noticed that since she had been having acupuncture her painting skills had improved remarkably…. Who knows, anyway, I was pleased that I did not have to struggle over these paintings, the arm has been more than enough to deal with.

Finding inspiration on a holiday?

I am still working on drawings and have started two new ones to complete the series. I had planned to finish them before we go away on holiday for nearly 8 weeks but that seems unlikely since as the images show I haven't worked up the heights and depths much at all yet. 

However I’m sure that they will be waiting for me when I return.

I am not sure how much art will occur while we are away since there is relative visiting and bike riding and lots of exploring and walking to do with a husband who is not exceptionally interested in the arts. It is such a long time since we have had the opportunity to travel that it will all be a great adventure, whatever happens.

I am sure that I will take lots of photos of fascinating things. Then, when I return I will have the ethical dilemma of whether or not I should use any “detail in nature” that I have photographed on this holiday, in future works of art.

I guess I am a bit of a purist when it comes to subjects for inspiration. My loyalty is to the Australian landscape and so far I have used only it in my art. I’m sure that rock forms, sand patterns, lichen shapes and so on are much the same everywhere and I am sure that no-one would notice if I use photos from a holiday on the other side of the world, but I would know wouldn’t I?

We shall see. Cheers....