Lines of Inquiry II

I have been trying hard not to lose the sense of momentum that I gained from the Michael Brennand-Wood workshop I did earlier this month. Without the excitement of the class atmosphere I find it all too easy to fall back into familiar practices and patterns.

I was pretty excited to realise that one very direct response that I could take from the class was to use one of the pieces I produced for it’s original purpose, as a screen to print from.

The screen with cut and stitched sections.

The screen with cut and stitched sections.

In the workshop the screen had been the frame for exploration of 3D layers with connecting threads between them. When it came to printing I first put the thickened dyes I use onto the ‘back’ of the screen and then placed paper directly onto it, carefully pressing down to transfer the image. The result is a subtle background with a much stronger transfer of colour where the original image remains on the screen.

Stitched and cut screen image using thickened dye on Japanese paper, 9 October 2013.

Stitched and cut screen image using thickened dye on Japanese paper, 9 October 2013.

In order to use the ‘front’ of the screen, the normal approach, I had to cut those strings that prevented me from running the squeegee across the screen.

The 'front' of the screen prior to printing.

The ‘front’ of the screen prior to printing.

Because the screen already had an exposed image on it, the thickened dyes only transferred to the paper where the original image was and where the screen had been cut away. This resulted in a very different image from the one above. I like the large amount of white space in this piece.

Image resulting from the 'front' of the screen. 9 October 2013.

Image resulting from the ‘front’ of the screen. 9 October 2013.

I have continued to use the same screen for printing, modifying it as I go. Most recently I combined the use of certain sections of the screen with other techniques to produce this multi-layered approach.

A combination of printing approaches, using the manipulated screen and de-contructed screen printing, with masking and overlapping. 25 October 2013.

A combination of printing approaches, using the manipulated screen and de-contructed screen printing, with masking and overlapping. 25 October 2013.

I think this is a very fruitful approach and I intend to continue exploring this idea at my next sessions at Megalo.

Printing at Megalo

Back at the Megalo Studio this week for another session of printing. In the gallery there is a review show of all the 2012 Megalo artists-in-residency. Some lovely work including that of Jan Hogan, whose interactions with the landscape are always thoughtful.

The process I’m using works by building-up layers of images. I print in layers so sometimes good images come quickly, other times they may take all day. This time it was only after lunch that I found my best images of the day.

Image

Vessel image, a left-over from the previous printing session, 11 September 2013.

I was pleased with the results of my new stencil:

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Detail of a new stencil, 11 September 2013

An unexpected result was this very simple shape surrounding a landscape ‘found’ in the printing:

A landscape 'found' in the print, 11 September 2013

A landscape ‘found’ in the print, 11 September 2013

This reminded me of ‘landscape marble’ which is valued in China for its natural resemblance to Chinese brush painted landscapes.