Scordatura: Recital, Liz Miller at Bearspace Gallery

http://www.bearspace.co.uk/exhibitions/scordatura-recital

http://www.bearspace.co.uk/exhibitions/scortadura-liz-k-miller

Research trip to Krakow: International Print Triennial

Stanislaw Lewkowicz

Fragmentary Memories of a Winter Trip, Plastic Christmas Tree (2013)
Photography / lithography, dibond / epoxy

http://www.flatlandgallery.com/artists/stanislaw-lewkowicz/ 

Neil Malone

 
Sometimes It Rains No.7 (2014)
Woodcut

Regina Costa

The Map Is Not The Territory Series (2015)
Digital Print

Satomi Tanaka 
Dim - Plastic Memory 028 (2014)
Digital Print, Screen Print, Intaglio  

Too subtle to show an image - introducing texture to the digital image. One way in which to imbue it with the physicality and experience of touch that seems to be lost in digital processes.  

Adam Maria Panasiewicz
Between Series (2012)
D-Print UV 

Reminds me of Helena Almeida with the use of the frame and attempting to organise the photographic space/ placing the body within the frame of the photograph. Sense of touch
(Scan image from catalogue)


 Wojciech Tylbor-Kubrakiewicz

  














Reflection (2014)
Linocut, D-Print UV

Admir Mujkic

Ribolik Series (2015)
Etching


Different modes of display: 

FRAME. LINE. SUSPENSION. TRADITION. SHAPE
 

Soft Ground Etching, Netted Fabric

Ideas to pursue following tutorial with Jo

Series of monoprints
Screen print- ways to bring in texture/ sculptural quality to prints – using multiple printmaking
processes for one print
take rubbings of paving stones/ other every day textured things/ wood grain and then print grids
over the top of them. Then take sections of the rubbing and incorporate this into a larger print
somehow . continually layered process.

Hover

The Global Community as an exercise in the organisation of space (& hypocrisy)

Why are we allowed to pick and choose when we are a part of a global community and when we are not? 

The internet has given us a sense of boundless access to knowledge and limitless communication, yet in crisis we revert to our physical borders; box ourselves in and others out. 

Even the open range of the wild west could not sustain the wanderlust. The invention of barbed wire put an end to the right to roam. We constantly implement systems by which is organise, structure and remove space; placing it within a concept of 'ownership'.

Why do we feel the need to structure society/our daily lives in this way? To create a uniformity that doesn't allow for individualism, understanding or creativity.

Little boxes on the hillside,

Little boxes made of ticky-tacky,

Little boxes on the hillside,

Little boxes, all the same.

There's a green one and a pink one

And a blue one and a yellow one

They're all made out of ticky-tacky,

And they all look just the same.

The media response to the refugee crisis is removed digitally from the very physical experience of the people who's story it actually is. Does this say something on a broader level about our removal from physical experience through the digital medium? It also brings us back to the paradox of acceptance of the global community in its digital capacity but our avoidance and steadfast adherence to physical borders when the global community becomes a (problematic) physical entity. 

A repetitive ritual that can be explored within printmaking

Digital Sketch

What ideas am I thinking about here?

'Free forms' (nature)

imagined spaces: caves, alcoves, gaps - the landscape of Poland (photograph is from Ojcow National Park near Krakow) is my idealised landscape

Mapping: grids, structure, control

Colour...

What is the next step?

Printing directly onto graph paper /

How else to create 'free forms' & ways in which to control them / 

Getting into the 3D workshop - cutting up the plate, physically re-ordering the space
(As in 'Re-Constructed' but instead of cutting up print- cut up the plate - a sort of mono-printing perhaps?)

The present as a site of negotiation

First MA Print!