"Local Habitation"
Local Habitation.
..Suite of 3 aquatint & spit-bite etchings
20 x 26" on Rives BFK edition 10 2013
Local Habitation: The Flyer
Local Habitation: The Wall
local Habitation: The Flow
“And as imagination bodies forth
The forms of things unknown, ……
the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.”
from A Midsummer's Night Dream
W Shakespeare
Local Habitation is a suite of three aquatint etchings about the creative process; the physical creative process and the creation of narrative identity.
The photo pictures are drawn with aquatint. The buildings are on Boulevard St Laurent, Montreal, at Rachel. My old studio is about half way down. The Flyer was hanging in front of shelves in another other studio further up the street. There, on the wall, were drawings of my paper portrait sculpture and a flame-head figure in fired clay, images generated by Grunewald, Blake, and the puppets of Rilke.
The plates are etched with nitric acid that works by dissolving unprotected plate into vapor. For the clouds I used a rarely chosen opaque white ink coloured with the plate’s own oxide. Spit bite is carried on water so I used that to carry the aquatint to etch the traffic flow and the cloud-like imagery.
The coalescing of water into cloud into shape, meets the photograph- a visual imprint of light. Thus the images are created at the crossroads, the X Y axis of two abstractions, two airy nothings.
Victoria Edgarr
March 2013
The forms of things unknown, ……
the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.”
from A Midsummer's Night Dream
W Shakespeare
Local Habitation is a suite of three aquatint etchings about the creative process; the physical creative process and the creation of narrative identity.
The photo pictures are drawn with aquatint. The buildings are on Boulevard St Laurent, Montreal, at Rachel. My old studio is about half way down. The Flyer was hanging in front of shelves in another other studio further up the street. There, on the wall, were drawings of my paper portrait sculpture and a flame-head figure in fired clay, images generated by Grunewald, Blake, and the puppets of Rilke.
The plates are etched with nitric acid that works by dissolving unprotected plate into vapor. For the clouds I used a rarely chosen opaque white ink coloured with the plate’s own oxide. Spit bite is carried on water so I used that to carry the aquatint to etch the traffic flow and the cloud-like imagery.
The coalescing of water into cloud into shape, meets the photograph- a visual imprint of light. Thus the images are created at the crossroads, the X Y axis of two abstractions, two airy nothings.
Victoria Edgarr
March 2013
