City Lit Blog

'Pressing Time' Printmaking show - 18-22 June 2018

Story added 24th May 2018

Untitled (screenprint) Michelle Dow

Concatenate and Pressing Time showcase work by emerging artists, designers and makers as they conclude their year of creative study on the City Lit Advanced Fine Art Printmaking Course. The works in each exhibition reflect the ten exhibitor’s individual passions, creative concerns and their dialogue with traditional printmaking. These works on paper include; wall based work, site specific installations, artists books and a collaborative box set of prints and demonstrate both process and technical skill.

Artists will exhibit their own work but also a collaborative box set of prints created during terms two and three. The clamshell boxes were made in sessions taught by bookbinding tutor Ina Baumeister. The set exhibited in each exhibition are those to be donated to City Lit. 

 

Pressing Time

Monday 18 - Friday 22 June 2018
Private View - Thursday 21 June 17:00-20:00
RK BURT GALLERY, , 57 Union Road, London, SE1 1SG

Exhibitors: Elizabeth Baker, Melody Clark, Sarah Cleary, Michelle Dow , Patricia Gaudron, Christine Mabileau, Eleanor Morris, Amanda Seaborn, Nicola Scott , Patti Taylor

See the 'Pressing Time' Instagram page for images

 

'The course has given me the opportunity to generate and consolidate my ideas.  I am certainly making different work from previously, and have more confidence in my ability. I am now sure that printmaking is the medium that best suits my practice and concerns, and am looking forward to further developing my skills in processes such as etching and drypoint.' Melody Clark, Advanced Fine Art Printmaking 2018

 

Artist statements

Elizabeth Baker

“The art of being an amateur: of thinking from error, from popular thought. 

Objects 

made by anonymous people,

possible alternatives to 

the single

way 

of making.

The art of being amateur brings ways of creating not considered professional into reality, 

creators not experts, 

motivated by passion and desire it talks to us about ways of understanding art, 

about 

the performance that is more than the sum of it’s parts

about the crisis of our times.”

Anone Ymus

Melody Clark 

For me, printmaking is a kind of freedom.  I make gestural, intuitive marks on matrices including plastic, lino, wood and cardboard which I then ink and print, either by hand or using a relief press.  The prints achieved this way are always a surprise to me.  These images are non-referential, nuanced and with the quality of line that only printmaking can give. 

More recently I have been using folded paper as the matrix.  The resulting prints reveal the process of folding, unfolding and refolding. I have worked on Japanese papers with varying transparency and layered the prints so the final pieces suggest surface and depth, interstices and spaces.

Sarah Cleary

My work in this exhibition is a response to the poetry of Ted Hughes, in particular “Tales from Ovid”. It is also an exploration of the destructive and creative nature of etching, and the parallels between this process and my existence as an artist, woman and mother. 

I use traditional etching techniques which, to me, are ritualistic and sensory experiences. They are time consuming and open to chance occurrences. Working the plate in this way I build a relationship and responsive dialogue with the image which, in time, becomes its own entity. Similarly, the materials I use are traditional and handmade, chosen for their tactile and visual qualities.

www.sarahcleary.studio 

Michelle Dow

"Aargh! Time to try and write an artist’s statement again. Well… I really would like to explain my work but I can never find the right words. I’m just experimenting always. Thoughts and ideas come and go but they are visual thoughts, not language ones.  Words seem too precise and often wrong to me, until of course someone else manages to describe something perfectly. Wish I had that skill, especially when I’m asked for an artist’s statement. Sorry, this is it!"

Instagram: @michellehdow

https://michelledow.info/

Patricia Gaudron

My work explores my experience of kayaking. 

The large relief monoprints I am presenting here were made printing directly from the surface of my kayak. They are a response to a course brief inviting students to make work fitting an A3 X 5cm archival box. 

Indeed it has been a fun challenge to fit a number of full size sea kayaks in a classic clamshell archival box! 

Christine Mabileau

Before I made prints I made drawings. Many of my drawings begin with a word or phrase that someone has said. This compels me to take to my pen and I begin to draw; at this point I have no idea how the drawing will develop. What usually emerges is a vision of the person and I know that this will become my gift to them, if not in a material way in the form, perhaps, of a spiritual bond. My work reflects my fascination, on the one hand, with the ways in which we humans reveal our senses of humour; and on the other hand, with the ways words and images combine to expand and enrich our vision and imagination. 

In preparing these monoprints, I started by re-reading poems about London, written in my native language. The writer sets off on walks with no itinerary in mind, wandering at random into the unknown. With this in mind, having inked plexiglass, I made marks on it with whatever tools were to hand in a similarly random manner, similarly setting off into the unknown.  I then printed these onto newsprint paper. The results inspired me to choose words from the chosen poem, which I have superimposed on the prints. 

What I want to achieve through my work here is both to convey the darkness in many of the poems and, paradoxically, to convey my own sense of joy in the process of creating these works. 

Eleanor Morris

In my recent work I have used  printmaking processes, namely etching, monoprinting and Chine colle as a starting point in order to focus attention and record everyday shapes, colours and marks which I encounter when walking in my neighbourhood in North London.  Homelessness and destitution are very visible and this work could be interpreted in a metaphorical sense as an attempt to dignify what we choose to overlook and to highlight its potential.  

Amanda Seaborn

I was inspired by the title of this exhibition to investigate matrix and print as metaphor for the way lives are shaped by imprints of positive and adverse early life experiences on the developing brain and nervous system.  These marks, particularly the traces of early trauma, are etched so deep, that if one is not vigilant the whole of life can become a printout of this early programming.  Drypoint and etchings evolved sometimes from pristine plates, and at other times from hard grounds carrying the damage of chance marks, and I have experimented with colour as a signifier of emotion.

Nicola Scott

My artistic practice considers the role of landscape in establishing our sense of identity. I believe we instinctively look for boundaries within a landscape in order to locate ourselves and our experience. In doing so, we seek security and ultimately create a sense of identity.  Boundaries validate our presence, but they are also places where nature and humanity are in dialogue. 

I research outdoors, often in a local park, using pen and ink to create a sketchbook archive. I then select images to be developed using dry point and carborundum collagraph. I like to use print processes which have the potential to combine expressive line with tone and texture. Although I use chine colle´ to facilitate watercolour marks, I am very aware that I am also introducing an external physical presence into the landscape image.

 For many years, my artistic work was a counterpoint to a working life in education librarianship. Now that I have left that career I am able to focus on my painting and printmaking practice. My mother’s work in watercolour was an early influence and my style remains fluid as I aim to be in synergy with the natural subject matter of my 

Instagram:  nicolas_2659 

Patti Taylor

My interest in printing stems from childhood, but it is only since I retired that I have been able to learn the skills and develop my range of work. From the precision and slow development of an etched plate to the immediacy and fluidity of monotypes, I have found that there is a process that matches each idea for a piece of work, and I enjoyed using these new etching skills for the small book “Street S**t”. 

The two collections on “The Shell” come from a very difficult period: my daughter had to have five weeks of radiotherapy following surgery to remove a brain tumour – her “nugget”. The etching plates were created at the beginning of the treatment using the shell that held her still during radiotherapy. Their tightness, fixed lines and inflexibility show how I felt then, and how my daughter must have felt during the sessions: rigid, caged, trapped. The chine collé offers hope – it shows the tumour moving, disappearing. The cyanotypes were done after the end of the treatment. The “nugget” changes throughout, sometimes shiny gold, sometimes not, and moves around, hopefully soon to disappear. The chemicals used in the process are poisonous and reflect the poison essential to treat her condition. The prints are much more fluid and free and light and reflect the optimism we both now feel. 

www.patti-taylor.co.uk

twitter: @patti_taylor

instagram: @patti.taylor44