My aim is to be in the landscape capturing moment by moment changes in light and atmospheric conditions. I do not like working from static images because my mark-making happens as a response to what I see rather than being intellectually controlled. The idea of following the changes in the landscape is important to me – the images I create should show the fact that a landscape is never still; everything is constantly in motion. A photo could, in my opinion, make static some of the things that need to be expressed in my work. I don’t like being in control, so I often work in environments that force me to work immediately and directly e.g. in severe weather conditions or in the middle of the road! From a viewer’s point of view, I want to encourage the ability to look at a piece and see it as dynamic and constantly changing, depending on the available light. I use traditional, but also experimental processes. I am not a purist printmaker, but am interested in the use of print to make a template of marks within an etching that I can then use swiftly, in situ, with various tones and colours of ink to capture individual moments in a landscape over and over again. In other words, each proof is effectively a monotype and would not therefore be seen as a traditional etched plate. However, my proofs are still numbered, even though they are individually wiped and inked, so there is a limited number of each piece. In future I plan to make my work even more about the moment; sometimes I find it hard not to give more information than I really want to. The battle is to try and get a balance between giving enough structure to make the subject landscape recognisable and let the viewer make a connection with it, but at the same time leaving room for them to transport the memory of being in a similar place and impose that feeling onto the work. I do not want to dictate too many details - I want to leave some of the work for the viewer so that they have to look deeper into the piece rather than being ‘told’ everything. A journey is taken when viewing the piece; I as the artist lay a path for the viewer to utilise.
Biography: I am a landscape artist, producing etchings & engravings ‘en Plein Air’, using Intaglio & Monotype processes. I have been practising since 1990, and graduated with a BA Fine Art degree with Honours from Falmouth College of Arts in 1994. In early 1995 I set up my own company, Proof Print Arts, incorporating a printmaking studio and working gallery. I have since organised many exhibitions and arts-based courses, working all over Europe. One of my engravings of Westminster hangs in the Houses of Parliament in London and another etching is in the Royal Collection. I use traditional, but also experimental processes, and therefore consider my work to be both challenging and innovative, particularly in my use of etching. With the use of my mobile studio (incorporating a 21” press), I have taken what is traditionally a studio-based practice and moved it outdoors - I do all my work ‘en Plein Air’. Over the years I have found that the process of etching has become less important in my work - it’s a vehicle or template that allows me to give more and more attention to the details of changing landscapes. By re-joining Axis I hope to connect with a wider community of people who know something of this specialised art-form and can recognize some of the strategies and techniques that I use. I would also hope to get some more exposure to informed art buyers worldwide.
Country: United Kingdom (Great Britain)
Site: Proof Print Arts
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