"A Dream of Time" commissioned by Victoria Print Society, Relief print battleship Lino 12 x 19"
"Re-Cycling Culture" PRINTgallery No.6 INSTAGRAM @victoriaprint Available NOW!.. contact me or go to
https://victoriaprintsociety.weebly.com/print-gallery-no-6.html#/
"From the bubble of covid, and noticing how one thing leads to another, I thought it was time to get my ducks in a row.
For me, the printmaking process acts as a metaphorical path for figuring things out.
I drew and carved "A Dream of Ducks" and began to see more clearly the imperative to re-balance the culture/nature relationship of this world that feeds our bodies and our minds, at this crossroad of climate change."
"From the bubble of covid, and noticing how one thing leads to another, I thought it was time to get my ducks in a row.
For me, the printmaking process acts as a metaphorical path for figuring things out.
I drew and carved "A Dream of Ducks" and began to see more clearly the imperative to re-balance the culture/nature relationship of this world that feeds our bodies and our minds, at this crossroad of climate change."
PRINTgallery No6. Recycling Culture
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PRINTgallery No6
The physical paper publication as a virtual gallery is like the printmaking process:
it holds plenty of metaphorical potential.
From a flat closed surface, it unfolds in a sequence of actions leading to the grand "reveal" at the core of the experience.
Held close up it floods one's field of vision,
at arms length allows another reading;
the depth and scale of meaning rests in the hands of the viewer.
I began the project taking my cues from the place where my image was going to live, the PRINTgallery publication.
The hand-held book-like format invites a 'close read'.
I could make a dense, layered, image, one you could really sit with.
I could take my time consider the design, image sources, drawings.
I could go at it slowly, face by face, group by group, scene by scene, as you would with a movie, and trust it to be as fresh and immediate as a heavily layered and edited film can be.
The physical paper publication as a virtual gallery is like the printmaking process:
it holds plenty of metaphorical potential.
From a flat closed surface, it unfolds in a sequence of actions leading to the grand "reveal" at the core of the experience.
Held close up it floods one's field of vision,
at arms length allows another reading;
the depth and scale of meaning rests in the hands of the viewer.
I began the project taking my cues from the place where my image was going to live, the PRINTgallery publication.
The hand-held book-like format invites a 'close read'.
I could make a dense, layered, image, one you could really sit with.
I could take my time consider the design, image sources, drawings.
I could go at it slowly, face by face, group by group, scene by scene, as you would with a movie, and trust it to be as fresh and immediate as a heavily layered and edited film can be.
Using graphite paper makes a stable transfer of lines even when the block is washed after proofing. and they can be erased with white eraser
Goya's faces from the Prado Museum -I saw them in 2017
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This fantastic film has Goya painting on the wall "Pilgrimage to San Isidro, La romería de San Isidro" 1819-23
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