I’m pleased to announced the release of my first Limited Edition Prints which I have produced in collaboration with Rise Art. Given the opportunity to create two new pieces exclusively for the edition run I decided to embrace the printing process to achieve the sort of perfection usually impossible for a painter dealing with a wet and reactionary paint process. I have previously found myself spending time trying to recreate a particular finish with limited success. Each piece was painted with oils on paper with the foreground and background scanned and superimpose together. I decided to use the same background on each to challenge the idea of the pieces every existing in a form other than the finished composed print, through the printing process the works are completed. Both prints feature a Thames dolphin (mooring construction) which have been the subject of my recent series of works, both feature a metal Tripod form showing signs of age while still being distinctly different.
The sharpness of the veins of paint in the background flow beneath the image rooting the structure to a deep and rich earthy surround. While the central image reveals the brush marks and flicks of paint giving it the illusion of standing proud of the paper, this creates a similar contrast to my paintings which have a deep gloss background with a flat matt central image.
Details for both editions : Paper Size: 450mm x 600mm, Image: 373mm x 525mm, Archival Pigment Print on 315 gsm Cotton Rag paper with hand torn edges, Edition of 25
I was intending to upload a few images of the grounds of current work in progress before I worked over the top, I was going to write how they are reminiscent of John Martin’s swirling apocalyptic sky’s. That was a couple of weeks ago and the thought past, that is until I saw an article on Martin’s (Guardian 4th March 2011) recently opened survey at the Laing Art Gallery is Newcastle.
So here saved from that huge blog in the sky are the intended images –
Usually created in a single sitting these grounds are made from a careful mix of a resin medium, thinned oil paints and thinners. Tipped and poured the paint dissipates into the resin, creating glitches as the paint moves to find space to settle. Some areas show through as pure paint, some as pure resin showing the raw canvas beneath while others show a combination with paint sunk into the resin as if submerged in water.
I hope to go to Newcastle to see the John Martin before it closes in June, its a great city and not only is there the Laing and the Baltic but also Workplace Gallery (in Gateshead) which is well worth a visit. If you go between 5-26 May make sure you visit Fade Away at Gallery North touring from Transition and featuring my painting “Karl”.