Fine art printmaking present an exhibition as part of our editioned print project. Our work spans a variety of print techniques and mediums, stemming from the traditions of screen print, relief, lithography and etching as well as the photographic and digital.
Escarpment by Jill Flower
The print above caught my eye in particular from this exhibition held by first year fine art printmaking. During my latest group critique for the project “art of the accident”, Andy Vella suggested that for the cover of my book for my final outcome I could print onto metallic paper, therefore this print onto metallic gold paper relates to this idea. The print itself is also similar to some of the work I had produced for the project, gestural and focused on mark making, conveying a sense of texture.
It does not say how this print has been created, however from the design I assume it to be a relief print, possibly a linocut or an etching. I have previously explored etchings within my work and I would enjoy returning to the process to create the cover of my book, however for my final outcome I wanted to increase the scale of my book to a3 and an a3 etching plate would be quite expensive. An A3 piece of lino on the other hand would be much cheaper to use, although the quality of the line would not be the same it would create its own aesthetic.
After deciding not to continue with my photography of marks made unintentionally and intentionally in the studio by students I decided to photography erosion and weathering in a natural environment where the effects would be more unpredictable. Above are contact sheets of photographs I took whilst at Brighton beach. The photographs document the natural weathering and erosion of the man made buildings and structures.
I believe these photographs were far more successful than those taken within the studio. From these photographs I am particularly intrigued by the close up photographs of rust that I found on the metal bars beneath Brighton Pier. The colours and textural qualities of the rust would be interesting to experiment and play with using printing processes. It may also be interesting to explore juxtaposing the textural and natural qualities of the rust with the cold hard forms of the structures they were found on, combining texture and linear forms.
Esther Cox is an illustrator/graphic designer who works in a variety of practices, however mainly creates prints for fashion. She is professionally trained in fashion and textiles, but has worked in health and social care, textile restoration and a large range of other professions. Currently she sales a lot of prints for fashion, primarily menswear and kidswear, as well as stationery and homeware. Some of her recent clients include Marks and Spencers, Paperchase, Transport for London, Desktop magazine and Undo magazine. Due to her clients mainly being commercial most of her work is designed for spring/summer and autumn/winter briefs, and large companies will normally request the same colours and themes for each season each year, therefore a challenge with her work that she highlighted was that each season she has to find new and creative way of reinventing these themes. Her style is abstract, textural and focuses on mark making, and her creative process includes using painting, print and collage to generate visual elements.
I really enjoy the abstract nature of her work and her use of colour. Her work reminds me of the experimental work I used to create during my foundation, where I would cut up unsuccessful prints and paintings and play with collaging the elements together. This is an approach that I haven’t used since leaving my foundation, however after the talk given to us by Esther Cox I am eager to revisit it. The talk also encourage me to see that approach as a way of making final outcomes, whereas before I only viewed collaging prints and mark making together as simply for fun.