Printmaker Jane Bennett and Photographer Joanna Garrett show new collaborative work at ‘The Test Bed’ on the 17th December 2018.
The show ‘Bennett and Garrett’ is the first exhibition by myself and photographer Joanna Garrett and it was hosted by one of my favourite research facilities ‘In Certain Places’ at the pop-up exhibition and engagement space ‘The Test Bed’.
I feel so privileged to be mentioned in Volume 4 of ‘North’ as part of Jo Garrett’s wonderful interview on the darkroom.
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.
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.
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.