Degree Show Install!

Over the course of the past week I have been installig my degree show work. My aim was to create a wall of motion with the prints leading you in and out of the space.

This corner represents my border landscapes in their current configuration. I wanted to create the sense that they could move at any time  (after john cage). 

The prints are built up of a body of work using a nunber of processes including relief, drypoint, monoprint, digital and screen print.

The seductive play between processes i hink is demonstrated in the image above (a detail of one of the border landscape prints). A blurring of the boundaries between traditional and digital print.

  I brought everything into the space, with scalpel, cutting mat and bone folder at the ready.  These prints only come alive together and in collaboration.

I cut prints in half,  cut spaces through to he wall- it was a nerve wracking process!

The log traving paper scroll represents the 'border landscape' in iys entirety.  That is, my fictionalised and mirrored version of it. It is an organic form which contrasts with the geometric and graphic black line. The organic is also brought in somewhat through the use of monoprint and colour but i hink this is something that could be enhanced in the work - a greater contrast between geometric and organic or free forms.

The triangle is an excavated piece of this landscape in contrasting luminous colour.

The tracing paper scroll is also referenced in the 4 colour photopolymer on the corresponding wall

Photographs on my travels...

Four Colour Photopolymer Printing

A technical challenge!

GlassGround Project

http://glassground.com/wp-content/uploads/2014/12/DSCF5614-1280x960.jpg

Info taken from GlassGround website describing project: 

GlassGround is the name given to a rural installation that encompasses a vast glasshouse and its surrounding landscape. The work enables the research of the experience of perception within the context of a contemporary fine art practice. The project encourages a discovery of physical, sensory and imaginary relationships between nature and the man-made structures which hasten the visceral immediacy of this topography. In this terrain, exploratory actions shape an exploratory journey etched by scenic views, sublime viewpoints and an often fleeting engagement with fellow travellers. The ground below carries traces of the land's recent and more distant upheavals. And, all around, umpteen reflections in glass and in water parachute images of the exterior land and sky to the space within. Like a giant mechanism for measurement, the glasshouse's shapes, shadows, lines and forms extend or retract, dappling the ground as light rises and falls. Images of the mobile observer's own body mingles with these tempora unfoldings, merging and coalescing with them, drawing experiences ever nearer to the sensory processes which invite them in. 

http://glassground.com/

Marco Cadiolis.

Abstract Journeys

 Reminds me of Edward Burtynsky photographs

Pivot Irrigation Suburb, South of Yuma, Arizona, USA, 2011, E. Burtynsky

Squares with Concentric Circles, Marco Cadiolis

 

Experimenting with the 4 colour process in different mediums

CM AND K!

Lasercut Plywood Blocks, to be printed CMYK

4 Colour photopolymer intaglio print: Preparing the plates for printing next week!

Relief, Mono Print, Drypoint, Digital and Screen Printed Experiments

Inked up lino plate with masked off areas and chance ink drips over the top.

Relief mono-print with digital print chine colle'd and then screen printed.

Trying to create a sense of both the photographic and original space with relief blends.Playing with ways of incorporating and suggesting the photographic/ how light falls on a surface.

Work for 'Print in space: space in print' exhibition at Chelsea College of Arts. Feedback was that it evoked movement, tapped into 'the commute' something that the majority of people can relate to. That 'nothing' 'in-between' space of travel: Non-Place.
Relief blend on fabriano paper, with digital print on tissue paper, chine colle'd between relief shapes.

Drypoint test over relief print on somerset paper. Soaked for 20 minutes and printed well. Next step: try on larger scale

Paper Sculpture. Fragility of the structure. Finality of the line.