Preserving Kids in Printmaking

Posted on April 15, 2011 by hatchery
Block for woodcut - girl

Block for woodcut - girl

As part of the ‘Preservatory’ theme for my recent open studio exhibition, I wanted to  ‘preserve’ the innocence of children.  To me, kids are the spices of life, which was another consideration, and with that in mind I first carved a block of an old style spice bottle.  Then, it was onto the kids.

Also as part of my personal theme, I wanted to use as many recycled materials as possible – I’m an avid recycler and repurposer at the best of times.  After intially sketching the child’s face, I transferred the image with tracing paper over carbon paper and tried carving the block from a piece of unknown soft wood, a bit like Balsa wood.  It was a disaster.  The wood gouged, dented and tore, rather than cut.  Curves and details were impossible to achieve.  So, I turned to some MDF off-cuts.

Rather than sketching and transfering the image, as I usually do, I drew straight onto the block – after first giving it a coating of acrylic paint.  The contrasting colour of the paint allows me to see the progress of  the carving, the lighter colour of the wood standing out against the uncut sections. This time, I got a much more satisfying result.

Woodblock - Kids Faces carved

Woodblock - Kids Faces carved

Following the same process, I carved two more images of children’s faces, on a single block, which I sawed to separate.

I had what is called the first state of the three blocks.  There is always some tweaking and tidying up of the woodcuts that need to be done after the initial proofing print.

I proof the woodblocks on newsprint.  Printmaking paper is not cheap and, being relatively new to the art of both printmaking and woodcuts, there is enough wastage without using the ‘real’ paper for working up to the final state of the block.

Okay, so I had the blocks.  Registration (lining everything up on the paper) was the next hurdle to form one print fro more than one block.  Just to complicate matters for myself, I decided to add another element, a label for beneath each bottle, which required another block.

It took me a while to work up a jig from corflute board.  This enabled me to cut down on the amount of steps involved in the pulling of the prints.  What amounted to having the same sheet of paper on and off the different blocks, nine times, the registration jig, with appropriate cutouts, reduced the steps to six to produce the print pictured below.  It’s all an adventure in learning!

Sacred Spices - woodcut

Sacred Spices - woodcut

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Open Studio Debriefed

Posted on April 11, 2011 by hatchery
The Coffee House - Assemblage

The Coffee House - Assemblage

The open studio exhibition was a great success, at least from my perspective.  Over one hundred people called in to my humble studio to browse my artwork.  Not bad, considering the Castlemaine State Festival program gave very little assistance or direction for folk coming to the smaller town of Maldon, even though there were several Maldonites participating.

Okay, so I certainly didn’t make a fortune from my artwork, but I didn’t expect to.  Generally, in this region, art sales are down.

For me, the highlights of the ten days were fascinating conversations with other artists and printmakers, as well as art appreciators; meeting more local people than I’ve met in ages – artists by nature are solitary folk; the learning curve of the whole open studio event; and, facing the fear of putting my heart and soul, aka my work, out there for public scrutiny and dissection.

Positive comments far outweighed the disappointment caused by the few visitors who breezed in the door and out again, barely taking time to look around.  My theme was very specific – preserving the past and present, real and imagined – so it probably wasn’t their cup of tea.

Speaking of which, the purchase of an urn for hot tea and coffee was an expense I needn’t have bothered with.  For the use it got, I could have left it in the box, in the shop.  Apart from me, only one visitor availed himself of the hot refreshments, or any refreshment at all.  Even the lolly dish is still more than half full.  Perhaps folk are more conscious of their weight or cavities, or maybe they were already lollied-out by the time they ventured this way.  It’s not important, with seven grandchildren, my abundance of sweeties will soon peter out to nothing.  And I’m sure the urn will come in handy at family gatherings.  Alternately, I could make it a permanent fixture in the studio…

I worked while open for visitors.  Kids and adults alike were enthralled with the printmaking process, which was an added bonus.  My initial nerves over ‘performing in public’ evaporated with the answering of questions and sharing my passion for prints.

At first I was mystified by comments about how ‘inspiring’ I am.  On reflection, I realise that anyone who is passionate about what they do, and shares that passion with others, can be inspiring.  No matter what the topic, the feelings in the heart are expressed in the enthusiasm – or obsession, in my case!

‘The Coffee House’ assemblage proved a regular conversation starter.  Several visitors shared my fascination with erotic ladies of the past.  There were also many conversations about family history, and what has been lost, and sometimes gained, instigated by my altered books.

All in all, the open studio was a fun thing to do.  It was tiring and I’m not sure I’d cope with being open for business every day, but I will make a habit of it.

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The Preciousness of Prints in Altered Books

Posted on April 5, 2011 by hatchery
Juana - Altered Book Spread

Juana - Altered Book Spread

Well, I’m into my fifth day of the Castlemaine State Festival and have had quite a few folk come into the studio to chat and watch me work.  I have to admit it was daunting, at first.  As another printmaker and I discussed during her visit, as well as being creatively satisfying, art-making is also isolating.  Rarely do we work with others, usually preferring to focus entirely in solitary confinement on our projects.  It’s a challenge being observed, explaining techniques and holding a conversation at the same time.  It’s becoming easier with the doing.

There have been many favourable comments, which is always a boost to the morale of one who sometimes wonders what others ‘see’ when I follow my own passions, in techniques and subject matter.  It’s also interesting to watch the reactions and hear comments regarding the two altered books included in my ‘Pressing Issues’ exhibition.  One visitor asked if she could browse through the book, and did she need to wear gloves.

Months of work have gone into the making of the books – designing, sketching, cutting the blocks for the wood cuts, printing, writing or ‘finding’ relevant poetry to include, and of course the altering with page manipulation, painting and handmade stamps and image transfers (always unpredictable).  Even so, as a lover of books, altered or not, I believe they are meant to be held in the hands, the pages turned, the verses read, the images studied.  No, there are no gloves.  This is a tactile as well as visual experience.

Individual prints are fragile.  They can be marred with rough or thoughtless handling.  Generally, if a print is unframed, it is behind some form of protective cover.  There is no protection for the ‘naked’ prints in the altered books, nor on the art cards that contain original woodcuts.  That’s the way it is.  Enjoy – with care and clean hands.

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Pinning Down the Idea Fairy

Posted on March 23, 2011 by hatchery
Idea Fairy ATC

Idea Fairy ATC

While in the throes of finishing off work for the upcoming open studio for the Castlemaine State Festival, I’ve been continually dive-bombed by pesky mosquitoes.  Now, I  discover the act of creation has agitated the Idea Fairy.  Faster on the wing than the mozzies, he drops ideas, some as light as fluff, others hitting like half a brick.  The smell of excitement mingles with that of printing ink, adding to the high that comes with work in progress.

As if I haven’t got enough to finish, in less than two weeks, this spunky little bloke distracts and entices me to consider new projects to cram into the disappearing days, and nights.

Last night, it was after midnight before I came in from the studio, the cause, a new wood engraving.  After having dinner with a friend, I decided I’d go out and do just a little bit more.  Three hours later…

There’s no doubt about time flying when I’m having fun.  It’s as if the world speeds up, spins faster on its axis, transporting me into the future in sudden leaps. There’s a frantic note to each new day, the previous one marked off the calendar leading up to my work being on show.  There are moments of panic. Will folk come to look at my work? Will they like what they see? Will they ‘get it’? Will I get it finished? What if the new prints aren’t dry in time to be handled and displayed?

Thinking about all the ‘wills’ and what ifs’ makes my head spin.  I don’t have time for that.  Nor do I have time for any more than jotting down all the ideas the Fairy is dumping on me. Maybe, if the gods smile on me and I finish ahead of schedule (there will be a miracle!) I will tackle another idea on the growing list.  Meanwhile, I’ll refrain from swatting at the Idea Fairy.  The wind from his frantically beating wings might just help dry the prints.

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Crossing the Bridge of Time

Posted on March 18, 2011 by hatchery
The Legacy - Printmaking and mixed media

The Legacy - Printmaking and mixed media

The Annual Eaglehawk Dahlia and Arts Festival is in its fortieth year, a great track record for a rural community festival.  This year’s theme for the art show is ‘Across the Bridge’, to be interpreted in whatever way inspired the individual artist.

I had no desire to paint the actual ‘bridge’ that carries folk from Bendigo to Eaglehawk, which was the inspiration for the theme.  Apparently, in the early days of the area’s settlement, it could be a dodgy undertaking, crossing that bridge.  Even now, poor Eaglehawk comes in for some bagging, being considered the rougher quarter of the larger community.

However, it caused me to think about the different forms of bridges we cross during our lives, the struggles of my ancestors, and the vast differences between young folk, then and now.  We are all  pioneers in our own ways.  For me, it’s a pioneering of spirit and heart, rather than actually forging my way through the wilderness of a new country.  Though, at present, my backyard could fit neatly into the category!

There’s also creative pioneering, a striving for a personal and unique way in which to represent the myriad ideas that pop into my head.  They jostle for attention and shout to be expressed in physical form.  In this instance, it was the urge to express a connection between now and then, a crossing of the metaphorical bridge of time. How my mixed  media piece will be received by the judges and the visiting public is far less important than the drive to put the idea onto canvas, to make it tangible.

Whether we are internal adventurers, creative pioneers or inventors of hi-tech gadgets, perhaps the related emotions of excitement and anticipation, mixed with a dollop of trepidation, are akin to those experienced by our forebears.  They left behind all that was comfortable and familiar.  They risked everything in a bid for a new way of being and living, and often a reinvention of self, with no guarantee of how things would work out.  These days, most of us have no need 0f a machete, but pioneering still holds no guarantee of success.  Not that that should stop us.

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