From Nova Scotia to London: Morley; printmaking; etching; adult education; charcoal; abstract

Showing posts with label Morley; printmaking; etching; adult education; charcoal; abstract. Show all posts

Thursday, June 30, 2011

New Work

The year is moving at a great rate and I feel I have only started! Oh well, I will try to catch up but to celebrate Canada Day, here is a new work. Happy Canada Day.

Sunday, February 13, 2011

I am pleased to start 2011 with an etching at Morley Gallery. The exhibition is entitled MADE 2011 Printmaking & Bookbinding and is on until March 10, 2011.

Morley College is a great supporter of artists at whatever stage of their career. The tutors and facilities are wonderful. Long live further and adult education.

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Art bio

Nova Scotia has always been special to me with my family roots in Liverpool.

After graduating with a Bachelor of Fine Arts in photography, film and art history from the Nova Scotia College of Art and Design, I worked for three years at the Art Gallery of Nova Scotia before packing my bags to do a Master of Arts in Museum Studies in England.

I kept working at my photography, producing quirky, slightly surreal images and more abstract textural studies. This led me to look at other printing processes which naturally led to printmaking.

After some experimentation I chose photo-etching. The process seems quite complicated but with all printmaking, patience is the key.

Photo-etching works particularly well with my textural studies and I’m currently working on a large series of Nova Scotia beach scenes – but not conventional ones: these concentrate on small details, making these prints surreal aerial views of vast Canadian landscapes.

How photo-etching works

Photo-etching (also called photogravure). The process seems quite complicated but with all printmaking, patience is the key. The image is transferred onto a zinc metal plate that is coated with a light sensitive acid-resistant ground. Exposure to UV light reproduces the image by destroying the ground and exposing the metal. The plate is then immersed in acid and the exposed metal is 'bitten'. The resist is removed and the plate is inked, placed against the paper and passed through an intaglio press under great pressure to create the image.

Further Reading

Etching: A Guide to Traditional Techniques by Alan Smith, published by The Crowood Press Ltd

Etching and Photopolymer Intaglio Techniques by Colin Gale published by A & C Black Publishers Ltd

The Printed Picture by Richard Benson published by The Museum of Modern Art, New York

From Nova Scotia to London

Thursday, June 30, 2011

New Work

Sunday, February 13, 2011

Morley Gallery

A few words about me

Art bio

How photo-etching works

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