A reoccurring theme in my practice is phenomenology – finding ways in which to articulate conscious experience.
This can seem to be an absurd and somewhat futile task, to create (often) two-dimensional works that capture or express a three-dimensional reality that exists in flux. For this reason, I avoid trying to creating a ‘fixed’ or static image that represents a place. The works are a gateway to a conversation about the place rather than an illustration of place.
My aim is therefore to create work that interacts with the environment in which it is presented. If the lighting changes, then so should the work, because after all, that is what ‘place’ is, as Maurice Merleau-Ponty says in the Phenomenology of Perception.
‘If I walk along a shore towards a ship which has run aground, and the funnel or masts merge into the forest bordering on the sand dune, there will be a moment when these details suddenly become part of the ship, and indissolubly fused with it. As I approached, I did not perceive resemblances or proximities which ﬁnally came together to form a continuous picture of the upper part of the ship. I merely felt that the look of the object was on the point of altering, that something was imminent in this tension, as a storm is imminent in storm clouds.’
I have always enjoyed being experimental in my printmaking and enjoy having the subtle effect of over printing in the same colour; for example, white on white or gloss onto acetate. With pale colours, a shimmer or glowing effect can be achieved and I have always adored this.
This is the first time that I have begun to print with black ink on to black paper. As any printmaker knows the quality of the paper is imperative and quality black paper in a reasonable price bracket can be difficult to source and manipulate. For this reason, I have never experimented with it, but with new contacts made and research done, it is time to start experimenting.
I have had a fantastic time during the last year, working hard on my Ph.D. Development Fellowship.
The Artlab Contemporary Printmaking Studios is about to close down for the annual Summer break, and most of the Academic staff have left to take on their own research projects. For me, this means that for me the Ph.D. Development Fellowship has come to a close. Over the last year, I have immersed myself in new texts, written proposals and grown a professional academic network; something that I think would have been difficult to fully commit to without the support and guidance provided during this time.
I’d especially like to thank the staff at the Unversity of Central Lancashire
All that is left to do now is organize the Ph.D. Development Fellowship, Artlab Fellowship, and AA2A Programme Exhibitions which will take place in the PR1 Gallery between the 16th December 2017 and 11th February 2018. I look forward to showing prints and installed works from my ‘1000 Plateaus’ project.
I’d also like to announce that, due to this fellowship I have exciting new prospects on the horizon! I will be announcing these projects over the coming year.
I am so excited to be experimenting with Multiplicity, Soft-ground and Stop Start Etching.
In my last blog post, I spoke about the difficulties in forming a conversation between the marks that were present on the plate. To me, the etch was shouting over the natural striations and oxidisation that I was encouraging to form. Resolved to take an active approach to mark making. Utilising soft-ground, Lascaux varnish, impure water and a pertinent quotation from A Thousand Plateaus I began to experiment.