MAKERS - ARTISTS - DESIGNERS - ENTERPRISE
Curating the latest in Welsh creative talent.
Open Weekends throughout January from 11th
My introduction into the exciting world of printmaking started at the School of Art at Aberystwyth University. The fine art course was full-on, covering everything from plein-air painting to lithography.
Whilst there, I specialised in collagraphs, a printmaking technique allowing for an array of textural marks to be produced. It was a few years ago that I revisited linocut, as a bit of an inquisitive foray. I loved the colourful linocut work I had seen by other artists and the diversity of work produced, from small and intricate to bold and expressive, I was inspired to give linocut another try.
I am influenced by so many artists, too many to adequately name here, many are fellow printmakers of whom I follow online. I visit galleries as often as I can, many of these are small and independent, exhibiting a diverse range of work by both established and emerging artists. Having the opportunity to view so much art on a regular basis feeds into my own work like osmosis.
The linocut process, lengthy and immersive, begins in the studio, where from my preliminary drawings, blocks of lino are hand carved with intuitive, expressive detail. When inked in different colours, these blocks combine to create a rich, colourful print. One of the challenges comes with deciding on the colours to print each block and the translucency of them so that they will integrate with and compliment each other.
Following a test print, there are often days spent tweaking blocks and reprinting them until I am happy with the result. I find linocutting to be a very expressive process, allowing me to experiment with different cutting marks, influenced by the subject matter. When printing, the block oftentimes transfers a few incidental traces of ink to the paper; these nuances are a characteristic reminder of the process. The resulting prints are illustrative and full of rich, descriptive marks.
Many of my linocuts depict sublime scenery, often with majestic architecture like old castle ruins and impressive aqueducts, brought to life with their wild inhabitants. I feel greatly compelled to preserve the ambience and atmosphere of these places through my art; provoking feelings of nostalgia for the onlooker.
Whilst spending time in these often quiet locations; one becomes greatly aware of the wildlife that call these places home. From hearing the trill sound of a blackbird calling, to experiencing the frenzy of sparrows feeding on newly ripened seedheads; these moments become an integral part of my linocut designs. This is a theme that I aim to continue to develop in my work.
This year I am focussing my attention on the wildlife within my landscapes and the flora on which they rely. This offers me the opportunity to depict species in much greater detail. One of the challenges will be in getting the detailed elements and expressive marks to work in harmony so that my pieces keep that sense of movement and life to them.
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