North

Lithography and Screenprint, 2018, Jane Elizabeth Bennett, August Artistic Experimentation

I feel so privileged to be mentioned in Volume 4 of ‘North’ as part of Jo Garrett’s wonderful interview on the darkroom.

North Magazine, Volume 4 featuring Jane Elizabeth Bennett and Jo Garrett
North Magazine, Volume 4 Jo Garrett’s Interview featuring Jane Elizabeth Bennett

I love the way that Jo talks about the magic of the darkroom, the physical interactions between chemistry and light, it is alchemy and I adore it. I think it is so easy to disassociate the physicality of making work from the final outcome which often ends up, framed and pristine, on a white wall.

When I’m working in the darkroom with Jo, I can relax. We often discuss the crossovers and co-dependencies of printmaking and photography. How each process informs, shapes and directs the evolution of the other, while still remaining very separate artforms.

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Stone Lithography

Experimental Stone Lithography, Jane Elizabeth Bennett, 2018

Upskilling with Stone Lithography

Stone Lithography is a skill that I have always wanted to obtain, but it has always seemed to be closer to witchcraft than printmaking.

I think that is part of the magic, taking a stone, drawing materials and array of chemicals, and after many hours of rubbing, flapping and mixing various chemicals a body of work will begin to form.

Jane Elizabeth Bennett, 2018 Using the Offset Press for Lithography
Jane Elizabeth Bennett, 2018 Using the Scraper Press for Stone Lithography

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Outcome – An Exhibition

Outcome – An Exhibition of Three Postgraduate Projects

If you have followed my research for some time you will already know about the philosophical, neurological and political undercurrents that inspire and drive my practice. With the exhibition of Outcome coming to an end, it seems like an appropriate time to examine these ideas and being my Fellowship to a close.

A Thousand Plateaus and Soft Ground Etching

My Fellowship began with soft ground etching. After beginning to read the work of Deleuze and Guattari my first inclination was to begin to explore it physically. For me, the most intuitive way was through the medium of soft ground etching. Adapting the traditional method to suit my needs I allowed the allowed impure water to settle and oxidize on the plates. As the oxidization formed it created pathways that formed streams, which in turn informed the soft ground and eventual etch.

Outcome, Artlab, PhD Fellowship and AA2A 2017 2018 Exhibition Jane Elizabeth Bennett Close Up Etching
‘Outcome’, Artlab, Ph.D. Fellowship and AA2A 2017 2018 Exhibition Jane Elizabeth Bennett Close Up Etching

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Multiplicity, Soft-ground and Stop Start Etching

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.

soft-ground stop start etching rhizome printmaking
The experimental soft ground on a hand ground zinc plate.

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