SARAH GARVEY
A contemporary artist born in London, Sarah lives in the vale of Glamorgan.
Sarah is not a traditional printmaker, combining technology and differing print techniques
to create her images.
ARTIST STATEMENT
My work is about connection. I aim to create ambiguity between our inside and outside, two vast feeling spaces. Figurative motifs act as a doorway in both past and present work.
The image outcome is unknown until found, grown through multiple types of techniques from an initial seed of imagery.
Recurring themes are figuration, boundary spaces, the elements and natural phenomena. Using repetition, translation, rotation of the motifs, to create a space open to appropriation by the viewer, a future narrative. The fixing of a moment, the pinning of an image at the corner of your eye, fleeting, ephemeral with earthy physicality. Cutting, scratching, washing, rubbing, compressing. The materiality; pigment, oil, paper, felt, steel. This contradiction resonates with me, how it feels to inhabit a body subject to forces of nature, more than the sum of its parts.
DATGANIAD ARTISTIAD
Mae fy ngwaith yn ymwneud â chysylltiad. Rwy'n anelu at greu amwysedd rhwng ein tu mewn a'r tu allan, dau ofod o deimladau helaeth. Mae motiffau ffigurol yn gweithredu fel drws i waith y gorffennol a'r presennol. Nid yw canlyniad y ddelwedd yn hysbys nes ei ddarganfod, wedi'i ddatblygu trwy fathau lluosog o dechnegau o hedyn delweddaeth cychwynnol.
Themâu sy'n codi dro ar ôl tro yw ffiguraeth, gofodau terfyn, yr elfennau a ffenomenau naturiol.
Gan ddefnyddio ailadrodd, cyfieithu, cylchdroi'r motiffau, i greu gofod sy'n agored i'w neilltuo gan y gwyliwr, naratif y dyfodol.
“Creu’r eiliad, pinio delwedd yng nghornel eich llygad, yn fyrlymog, byrhoedlog gyda naws gorfforol priddlyd. Torri, crafu, golchi, rhwbio, cywasgu. Mae’r materoldeb; pigment, olew, papur, ffelt, dur yn cyferbynu sut mae’n teimlo i fod yn ddarostyngedig i rymoedd natur, yn fwy na chyfanswm ei rannau.”
The prints began with a text chosen by instinct. After initial works I began to focus on the idea of disintegration. How far can the figure dissemble and remain. This felt like a lived idea, since becoming a mother but also an adult, I struggle to maintain physical and mental integrity.
My body edges/boundaries are semipermeable. In my paintings I have been pushing the abstraction I seek /essences by pursuing colour areas, so decided to try this in the prints. I started taking paintings and deconstructing them in to different colour plates. Printmaking is a graphic medium so to accentuate and push the figures further I created a pixelation of each colour. The figures disintegrate and then reform, alchemy occurs.
Making the decisions within the separations for the plates was done by eye and hand rendering the results unpredictable and unknown. The plates printed in different orders, create different colours, a deck of cards. I keep returning to the definition of Paradox: noun: paradox; plural noun: paradoxes a seemingly absurd or contradictory statement or proposition which when investigated may prove to be well founded or true.
Dechreuodd y printiau gyda thestun a ddewiswyd gan reddf. Ar ôl gwaith cychwynnol dechreuais ganolbwyntio ar y syniad o ddadelfennu. Pa mor bell y gall y ffigwr ddadosod ac aros. Roedd hyn yn teimlo fel syniad byw, ers dod yn fam ond hefyd yn oedolyn, rydw i'n cael trafferth cynnal uniondeb corfforol a meddyliol.
Mae ymylon / ffiniau fy nghorff yn lled-athraidd.
Yn fy mhaentiadau rydw i wedi bod yn gwthio'r haniaeth rydw i'n ei geisio /hanfodion trwy fynd ar drywydd ardaloedd lliw, felly penderfynais roi cynnig ar hyn yn y printiau. Dechreuais gymryd paentiadau a'u dadadeiladu i blatiau o liwiau gwahanol. Cyfrwng graffig yw gwneud printiau felly er mwyn pwysleisio a gwthio'r ffigurau ymhellach creais bicseliiad o bob lliw. Mae'r ffigurau'n chwalu ac yna'n diwygio, mae alcemi'n digwydd.
Gwnaethpwyd y penderfyniadau o fewn y gwahaniadau ar gyfer y platiau gyda llygad a llaw gan wneud y canlyniadau yn anrhagweladwy ac anhysbys. Mae'r platiau â argraffwyd mewn gwahanol drefn yn creu lliwiau gwahanol, dec o gardiau. Rwy'n dychwelyd o hyd at y diffiniad o Paradocs: enw: paradocs; enw lluosog: paradocsiau
datganiad neu gynnig sy'n ymddangos yn hurt neu'n gwrth-ddweud ei hun a all, o'i ymchwilio, fod â sail gadarn neu fod yn wir.
ELEANOR WHITEMAN
Eleanor Whiteman is based in Caerphilly, South Wales. Her background in Geology and photography has deepened her relationship with the landscape as a recurrent dialogue within her practice.
ARTIST STATEMENT
Each starting with a poem that had resonance to our practices, we used these as a hook on which to hang initial thoughts and ideas. I had a small limestone pebble which became a kind of Talisman, midway on its journey to new form; and which seemed to encapsulate the deeper concepts of time and landscape I was trying to express visually.
Initial experiments were based around discovering what marks were possible and this was very freeing, allowing the mark to be the narrative whilst testing the parameters of the materials, finding new pathways by the process of attrition; picking up new knowing on the way. In an attempt to move away from the literal, I started to cut up the collagraph plates.
This process of disassembling and reassembling felt intimidating yet intuitive and in retrospect represents the larger ideas of landscape I’ve been seeking to explore. The images became more about formal relationship, pattern, form and colour; observed and remembered.
DATGANIAD ARTISTIAD
Gyda phawb yn dechrau gyda cherdd a oedd yn atseinio ein harferion, fe wnaethom ddefnyddio'r rhain fel bachyn i hongian meddyliau a syniadau cychwynnol arno. Roedd gen i gerigyn calchfaen bychan a ddaeth yn fath o Dalisman, hanner ffordd ar ei daith i ffurf newydd; ac roedd fel pe bai'n crynhoi'r cysyniadau dyfnach o amser a thirwedd yr oeddwn yn ceisio eu mynegi'n weledol.
Roedd arbrofion cychwynnol yn seiliedig ar ddarganfod pa farciau oedd yn bosibl ac roedd hyn yn deimlad o ryddhad mawr, gan ganiatáu i'r marc fod yn naratif wrth brofi paramedrau'r deunyddiau, gan ddod o hyd i lwybrau newydd trwy'r broses athreulio a chodi gwybodaeth newydd ar y ffordd.
Mewn ymgais i symud o'r llythrennol, dechreuais dorri'r platiau colagraff.
Roedd y broses hon o ddadosod ac ail-gydosod yn teimlo’n frawychus ond yn reddfol ac o edrych yn ôl mae’n cynrychioli’r syniadau mwy o dirwedd yr wyf wedi bod yn ceisio’u harchwilio. Daeth y delweddau'n fwy am berthynas ffurfiol, patrwm, ffurf a lliw; arsylwi a chofio.
The studios at MADE and Marcross provided the perfect space in which to make, talk, and eat custard creams whilst putting the world to rights. This atmosphere of support and generosity was key to allowing us to create and experiment without the fear of failing. The experience has been one of real discovery; like a long walk to a new place with good friends.
‘From the close by sprigs of heather to the most distant fold of the land, each detail stands erect in its own validity. Details are no longer a grouping and a picture of which I am the focal point. The focal point is everywhere. Nothing has reference to me – the looker. This is how the earth must see itself.’ - Nan Shepherd. The Living Mountain
Mae stiwdios MADE a Marcross wedi darparu gofod perffaith i wneud, siarad, a bwyta ‘custard creams’ tra'n rhoi'r byd yn ei le. Roedd yr awyrgylch yma o gefnogaeth a haelioni yn allweddol i’n galluogi i greu ac arbrofi heb ofni methu. Mae'r profiad wedi bod yn un o ddarganfyddiad gwirioneddol; fel taith hir i le newydd gyda ffrindiau da.
‘O’r sbrigyn agos o rug i’r gorlan bellaf o’r wlad, mae pob manylyn yn sefyll yn union yn ei ddilysrwydd ei hun. Nid yw manylion bellach yn grwpio ac yn ddarlun yr wyf yn ganolbwynt iddo. Mae'r canolbwynt ym mhobman. Does dim byd yn cyfeirio ataf – y gwyliwr. Dyma sut mae’n rhaid i’r ddaear weld ei hun.’ - Nan Shepherd. Y Mynydd Byw
KATE SHOOTER
Kate Shooter is primarily known for exhibiting paintings, which are process driven, and related to automatic drawing. A fast conversation between mark and response allowing subconscious narrative to bubble up through the layers.
ARTIST STATEMENT
I had always been a little intimidated by Print Making. Bewildered by rule and technique, baffling words like ‘intaglio’ and ‘aquatint’ and an assumption that my unruly, painterly approach to image making would struggle to find a place within in it. BUT recognising that beneath that fear was a twitching curiosity about this unexplored discipline and knowing my practice needed feeding, I was ready to dive into two months of supported learning and making in the darkest months of the year.
Never before had ‘trust the process’ seemed so fitting a mantra. Following printroom steps became a reassuring dance that accompanied every tentative experiment - through Sarah’s gentle but emphatic guidance we came to understand that ‘rules’, rather than stifling, provide the quiet scaffolding for ideas to take flight.
DATGANIAD ARTISTIAD
Roeddwn wedi fy nychryn braidd o’r decrhau gan Wneud Printiau. Roeddwn wedi fy syfrdanu gan reol a thechneg, geiriau dryslyd fel ‘intaglio’ ac ‘aquatint’ a thybiaeth y byddai fy agwedd afreolus, beintus at greu delweddau yn cael trafferth dod o hyd i le ynddo. OND gan gydnabod bod chwilfrydedd o dan yr ofn hwnnw ynglŷn â’r ddisgyblaeth anarchwiliedig yma a gwybod bod angen bwydo fy ymarfer, roeddwn yn barod i blymio i ddau fis o ddysgu â chymorth a gwneud yn ystod misoedd tywyllaf y flwyddyn.
Nid oedd ‘ymddiried yn y broses’ erioed o’r blaen yn ymddangos yn fantra mor addas. Daeth dilyn camau’r ystafell argraffu yn ddawns galonogol a oedd yn cyd-fynd â phob arbrawf petrusgar – trwy arweiniad tyner ond pendant Sarah daethom i ddeall mai ‘rheolau’, yn hytrach na mygu, sy’n darparu’r sgaffaldiau er mwyn i syniadau ddatblygu.
Working under, inside and on top of the paper, my ongoing obsession with ‘object in space’ was given further dimension; the abyss of inky blacks, line dug out in drypoint, built on with carborundum, tape and glue, edges of the image literally stamped into the paper. I began to see that little window of happening as a stage where all drama was possible.
During the course of this residency, drawing, the sidekick to my painting practice, began to play a leading role. To witness a whisper of line and motif repeat over and over, allowing them time to breathe, to form personalities, to shout even. The repetition of stamping a visual language onto and into surface gave me a greater appreciation of my own personal landscape of mark making.
Gan weithio o dan, y tu mewn ac ar ben y papur, rhoddwyd dimensiwn pellach i’m obsesiwn parhaus â ‘gwrthrych yn y gofod’; yr affwys o’r inc du, llinell wedi'i chloddio mewn sychbwynt, wedi'i hadeiladu arni gyda charborundwm, tâp a glud, ymylon y ddelwedd wedi'i stampio'n llythrennol i'r papur. Dechreuais weld y ffenestr fach honno o ddigwydd fel llwyfan lle roedd yr holl ddrama yn bosibl.
Yn ystod y cyfnod preswyl hwn, dechreuodd arlunio, ochr yn ochr â fy ymarfer peintio, chwarae rhan flaenllaw. Roeddwn yn gweld llinell a motiff yn ailadrodd drosodd a throsodd, gan roi amser iddynt anadlu, ffurfio personoliaethau, gweiddi hyd yn oed.
Rhoddodd yr ailadrodd o stampio iaith weledol ar ac i'r wyneb fwy o werthfawrogiad i mi o fy nhirwedd personol o wneud marciau.
BELLA KERR
Drawing and writing underpin Kerr's curatorial and visual practice, which has spanned installation, small-scale making and film, produced and shown in a range of contexts, including regional and major London galleries and international residencies.
ARTIST STATEMENT
For this residency I worked from sketches - images made in a minute – throwaway lines.
I hoped to intensify and direct my drawing through the processes and repetitions of printmaking, testing thoughts and gathering in stray threads from past work: the ‘red ball’, the division and democracy of the grid, architectural notes, words as visual players.
I had my head turned to look at artists that are not part of my ‘bible’ – at some more rooted in the domestic and the nearby - and others - artists I had stored away and was reminded to revisit.
I learnt to hurry less and to walk as part of making. I drank a lot of tea and ate too many biscuits and talked and talked– conversations that are now embedded, visibly and invisibly in the prints. I am grateful to have been taught so much and so well in such good company.
DATGANIAD ARTISTIAD
Ar gyfer y preswyliad hwn bûm yn gweithio o frasluniau - delweddau a wnaed mewn munud – llinellau anfwriadol.
Roeddwn yn gobeithio dwysáu a chyfarwyddo fy narluniad trwy brosesau ac ailadroddiadau gwneud printiau, gan brofi meddyliau a chasglu mewn edafedd strae o waith y gorffennol: y ‘bêl goch’, rhaniad a democratiaeth y grid, nodiadau pensaernïol, geiriau fel chwaraewyr gweledol.
Fe wnes i droi fy mhen i edrych ar artistiaid nad ydyn nhw’n rhan o’m ‘beibl’ – ar rai sydd wedi’u gwreiddio’n fwy yn y cartref a’r cyfagos – ac eraill – artistiaid roeddwn i wedi’u cadw yng nghefn fy meddwl, ac yn cael fy atgoffa i ailymweld.
Dysgais i frysio llai a cherdded fel rhan o greu. Fe wnes i yfed llawer o de a bwyta gormod o fisgedi a siarad a siarad - sgyrsiau sydd bellach wedi'u hymgorffori, yn weladwy ac yn anweledig yn y printiau. Rwy'n ddiolchgar fy mod wedi cael dysgu cymaint ac mor dda mewn cwmni mor dda.
Lisa Chappell
Lisa Chappell is a London-based artist and printmaker, currently working as Specialist Screen Print Technician for University of The Arts, London.
Lisa exhibits regularly, including The Royal Academy Summer Exhibition, Woolwich Print Fair and RE Printmakers Print Open.
Her work explores motion, stillness and duration: focussing on the spaces in-between experienced by travel, and fleeting moments of shifting vistas and changing light.
Momentary views photographed through windows provide a starting point to be developed through CMYK processes, using screenprint, intaglio or lithographic techniques.
Mae Lisa yn arddangos yn rheolaidd, gan gynnwys Arddangosfa Haf yr Academi Frenhinol, Ffair Brintiau Woolwich ac AG Printmakers Print Open. Mae ei gwaith yn archwilio symudiad, llonyddwch a hyd: gan ganolbwyntio ar y gofodau yn y canol wedi’i selio ar deithio, ac eiliadau byrlymus o newid golygfeydd a newid golau.
Mae golygfeydd eiliad y tynnir llun ohonynt trwy ffenestri yn fan cychwyn i'w datblygu trwy brosesau CMYK, gan ddefnyddio print sgrin, intaglio neu dechnegau lithograffig.
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