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.
August is the best month to have artistic explorations as the campus is quieter and my main focus is readying the studios for the coming academic year.
Strangely, I find the cleaning and sorting is good for my work ethic and working on in the studios themselves help focus my artistic experimentation.
Heaven is in the making Remains unfinished A possibility If there’s a glimpse of it In the little dance of tongues
Einsturzende Neubauten – Heaven Is Of Honey
The links to music and philosophy may not be immediately obvious within my work, but I am as much influenced by rhythm in language and dissonant chords as I am influenced by visual artists. The gently clanged rhythms and gorgeous singing of Blixa Bargeld is the perfect soundtrack to grow artwork within.
There is also something so incredibly exciting about work in progress. It isn’t finished or complete and I don’t empirically ‘know’ at this point how it will turn out. There are small glimpses of it and endless possibilities. It’s very exciting.
I have been looking forward to the ‘Masters’ masterclasses for some time. Anyone that knows me well will know how much I love to ‘upskill’. The ‘Masterclasses’ were a great opportunity to network with some very experienced artists and expand my own knowledge.
Sleigh’s research and portfolio are extensive, and her workshop was as enjoyable as it was informative. The aim of the workshop was to explore methods of drawing a composite image over two soft-ground plates and then correctly register them to print on the star wheel press.
The group prepared each plate, de-greasing and coating them with a traditional softground wax, once the plates had been prepared they were etched in copper-sulphate and cleaned in preparation for inking and printing.