The Installation of ‘Within These Walls’

So now I had five hangings printed, sewn and perspex rods ready to be inserted (thanks Ian Whyte for drilling the fittings!). Ian Harland, the owner of the barn, had worked really hard to clear it and get it ready for the installation. I’d been up there to sweep up, do a risk assessment and cover the shelving with hessian (I bought a 42 metre roll!). Now there was just the small matter of reaching the beams, which are 4 metres from the floor, to fit the screw eyes and tie the rods in. Ian managed to borrow a builder’s ladder and I was going to give it a go myself but I have to admit, despite being a fellrunner and (briefly) a potholer, I was feeling nervous. I really don’t like being up ladders. Its not a fear of heights because I love standing at the top of a mountain, I think its a fear of precariousness! I have been known to get cragfast on rocky ledges when the wind is up.

Fortunately, I got a text from my friend Matt, an arboriculturist and former tree climber extraordinaire, offering to give me a hand. This actually meant he came along and did the whole thing. My mum and her partner Ian were up for the week so they came up too and kept an eye on Matt’s little boy and wrangled his gangly pointer puppy. I was in charge of passing him the pristine white voile hangings and was responsible for making sure that nobody trod on them or got tangled up!

It was a bit fiddly and we’ve come up with all sorts of ideas to make it easier next time I hang them but essentially, the rods and line did the job and Matt made it look very easy. In the meantime, Ian Harland was mowing the grass and making everything look lovely. He has been cultivating two meadows close to the barn and they are glorious. Ian Whyte then pinned up the rest of the hessian which helped to minimise the distraction of the rack of shelving.

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After installing Within These Walls, I distributed the flyers I’d had printed and put direction signs up. I’d also had postcards of four of the plant monotypes printed. Selling them at 50p each not only gives people something to remind them of the installation but also helps recoup my petrol costs for being up at the barn each day. The Grassington Festival team made me a lovely A-board to direct people up the lane and I’m turning a blind-eye to the fact that I’ve been renamed ‘Heather Cox’ 😀

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So that’s the logistics and the installation has now been up for over a week and open for 6 days. I’ve had 138 human visitors so far and 14 dogs! In my next post I will talk more about my personal feelings about the installation now its finished and some of the visitors’ reactions to it but I think its fair to say that I’m not only relieved to have pulled this off, I’m totally delighted with just how well the prints work in the space.

NB thanks to Paula Cox and Ian Whyte for taking photos of the installing part!

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Life in the Slow Lane

I’m currently in Sweden at Ålgården again and for once in my life I’ve had to slow down. At the end of July I successfully completed the Lakeland 100. This is a 105 mile race around some of the most beautiful parts of the lake district and I had a really good run. I spent the followng weeks on a high, imagining the future strength I’d have and planning for a Bob Graham Round attempt. Six weeks and lots of running later and I have developed a mystery knee injury and can no longer walk without hobbling. It could be reactive arthritis or it may be an injury that didn’t hurt at the time but certainly does now! I’m being tested and examined and hopefully we’ll get to the bottom of it but it is really debilitating.

However, I’d already made plans to come to Ålgården with a friend and colleague, Barbara Greene. She wanted me to show her the ropes so I thought I’d come anyway and just do whatever I could manage. Barbara and I met through Chrysalis Art‘s Connections North project and were both selected as two of the ten printmakers from North Yorkshire to take part in the Mirror Images exhibition. I will write a separate blog post about that as it is a fantastic project involving forty Finnish, Scottish, Swedish and Yorkshire printmakers. Barbara and I hope to collaborate on a future project so it was a good opportunity to talk and exchange ideas too.

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(a fellow printmaker or an accident in the DIY shop car park?)

It has been frustrating to be able to see the dense forest but not be able to get into it but I’ve made myself look for inspiration closer to home and am currently exploring the traces of nature found in the city and around the studio. I’m working on a few ongoing projects simultaneously whilst exploring ideas for a future project and I’m using the time and wonderful equipment here to try out things that I wouldn’t do at home. I tested a pot of Akua Intaglio ink which I brought from home to see what it was like to work with. It is perfect for reduction monotypes because it doesn’t dry on non-porous surfaces so you can work with it indefinitely before printing. It also cleans up with soap and water and yet the print has the same velvety qualities of an oil-based print. With some precarious balancing on a stool and on one-leg, I managed to produce an A1 monotype that I printed on the lovely big etching press. It has a bed sized 1metre x 2 metres and one day I’ll use the whole thing.

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Creating a reduction monotype on an old aluminium litho plate.

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The beautiful etching press (the big one, there are three!) with my print drying behind.

Whilst I may not be very mobile, I’m still getting about thanks to my very kind Swedish artist friends. Christina picked us up from the airport and drove us to the studio and she also invited us to her house for dinner, Lennart has lent me a walking stick (he’s 80 but says he no longer needs it!) and Torbjörn collected me and drove me to the Borås hospital to show me their amazing art collection (and I stocked up on painkillers). He is project director for the region and organises the buying and displaying of art for public spaces such as hospitals, health centres and dental practices. I was so impressed by the work on show at the hospital and the thought that had gone into its display and selection. Not just the more figurative and accessible work that you’d expect but very good quality contemporary pieces and in all kinds of media such as painting, sculpture, printmaking, textiles and glass. Tomorrow Anna is taking us both to see an arts and crafts place called Nääs so that will be a lovely trip out too.

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Today I made 12 small collagraph plates from plaster creating impressions in them from the fallen birch leaves that I’ve collected. I will print these and hope that the leaves will be very subtle. I then plan to overprint with further imagery relating to the city. I associate the birches so much with Sweden and I find their leaves everywhere, in the studio, on the pavements, in the supermarket etc. I’ve also been making monotypes of the shadows of plants growing round the studio too. All the traces of nature that creep into the city and that I seek out when confined to urban places. Really I’m just playing but that’s why I like it here, it gives me the time and headspace to do that and who knows what will develop from my experiments.

New Ground: Part 2

cdc752b7-98d3-4db6-b187-addd70c4bfc6My exhibition with ceramicist Charlotte Morrison is now up and running at Inspired By…Gallery in Danby. It is open daily 10.30am – 4.00pm until Christmas Eve and then it reopens for the 1st-4th January before becoming weekends only throughout January. The prints on show are a mix of collagraphs, intaglio photopolymer prints and a set of monotypes combined with drypoint. I had lots of ideas for images to create but, as usual, time restrictions and other commitments meant that I had to go with the ones that just couldn’t be shaken whilst postponing some of the others for another time. It would mean writing an essay for me to describe all of the images on show and to explain their origins but there are a few key pieces that I’ll mention here. Charlotte has created some beautiful collections of vases, cups and jugs based on old pathways, drovers roads etc. in the North York Moors national Park. Visit her website to see more of her work.

The first pieces to be made were based on a very foggy run that I went on with my partner and our dog. We parked at Sutton Under Whitestonecliff and ran to Gormire, up through Garbutt wood and onto Sutton Bank, along past the Glider club and down via the white horse, through the plantation to Hood Hill and back via Sutton bank and Gormire. Doing a large figure of 8. The ethereal woods and soft focus views triggered off a series of photopolymer prints developed when I was over at Algarden Printmaking Studio in Sweden. For more details, see my previous blog posts Seeing the Wood for the Trees & Photopolymer Experiments Continued….This is a small triptych that evolved:triptychI also spent months designing and cutting a collagraph plate inspired by the birch copse at the base of White Horse bank and of roe deer that I saw in the area. The birch forest was not too much of a problem as I had had previous success with creating a collagraph plate of one last year but I wanted a small group of deer and the grouping, positions and sizes (not to mention direction) took a lot of fiddling about in order to get it just right. The way that I work is that I’ll sketch out the forest and then I’ll sketch various deer in different positions and then trace them off onto pieces of paper that I can move around on the forest drawing. I’ll photograph all of the combinations so that I can compare them on my laptop and then I use photoshop to flip them to see what the plate will look like when printed (collagraphs print in reverse).

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This is just one example of many attempts. Working like this also helps me to spot flaws in my design such as wonky trees, dodgy perspective and badly drawn anatomy! I ended up completing the drawings in Sweden but then decided not to make the plate until I returned home as it is such a time-consuming process and I wanted to spend the studio time developing my photopolymer work. The final piece was proofed in March.

Passing ThroughOne of the key things about the project was that I was revisiting some of my favourite running routes and I wanted to allude to that in the imagery. Three places that I went to numerous times had quite different flora and topography and I decided that I could use this to make a series of prints. I set aside extra time on one of my visits with Paul Harris (who filmed me throughout the year) so that I could collect plant material from three of the sites. When I got back to the studio, I carefully pressed the different leaves and flowers in the pages of a phone directory and left them for a few weeks to dry. In the meantime, I studied an OS map of the areas and drew out the contours for the hills from where I’d collected the plants. Scratching into pieces of plastic, I created drypoints of the contours.

Over the course of a couple days, I printed the plant matter by rolling ink onto a piece of perspex that was the same size as the drypoints and by laying the plants onto the ink and putting them through the press. When I removed the plants, they left their impressions in the ink and I then printed that onto paper. I did this over and over again, changing the colours and tones of the ink and over printing the plant impressions until I had built up a number of images. I then inked up the drypoint plates and printed them as the last layer of each print. Whilst they were drying, I chose the best two sets of prints from the many variations. I painted blocks of MDF and pasted my chosen prints to the blocks using ph neutral bookbinding paste. The blocks were mounted within white box frames and hung as a series.

IMG_3818Gormire Lake:

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010I’m using colours that reflect the incredible heather moorland at Hawnby for the last of these three prints. Not colours that I normally use but ones that found their way into another of my prints for the exhibition.

The Winter LakeThe Winter Lake was inspired by the view from the Cleveland Way above Whitestone Cliff. I often heard and saw flocks of jackdaws coming into roost on the cliff face above the lake and during the winter months, the birch trees around the lake were leafless but the twigs created a beautiful purple shade. The lake itself is very distinctive in shape and I couldn’t finish my work without creating at least one view of it.

There are many more prints on display including collagraphs inspired by some of the birds that I observed such as wrens, yellowhammers and skylarks but the last two pieces that I’ll include here are ‘layer collagraphs’. They are created by printing four separate collagraph plates with the aim that they will reflect the details of specific places. Textures, patterns and cross sections that I hope will give an impression of Gormire and White Horse Bank during winter and summer:

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I have really enjoyed the year spent researching, visiting the places and creating new prints. I’ve also had a really interesting insight into film-making because photographer Paul Harris has been coming out on location, filming me at ArtisOn, visiting my studio and watching whilst I make some of the work and he has created a really beautiful piece of film as a profile of my work and life as a printmaker. Please do watch it if you can, I think it reflects the whole process very well and the film work is stunning: Hester Cox – Profile of a Printmaker by Paul Harris.

 

 

 

 

 

 

Photopolymer Experiments continued…

Well, it has been such a good week here at Ålgården. I’m feeling very happy and creative despite fatigue setting in from late nights working and morning runs. There is so much to say but I’m going to stick to photopolymer updates in this post. Last time I wrote I had been practising my reduction monotypes on paper and then I went on to do one onto acetate to act as a transparency for a photopolymer plate.

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It was something of a labour of love to get it finished and by the time that I did, the ink was beginning to dry but it still took the weekend for it to be totally dry enough for exposure on the plate. On Monday morning Kristina Thun talked me through the various steps again because I was slightly unsure of the settings for the exposure unit and then I went about exposing the plate and developing it in water. It was very exciting to see the image appearing as I gently brushed it in the water tray.

I was impatient to print it but didn’t want to spoil the plate by rushing so I forced myself to work on one of my collagraphs whilst the photopolymer hardened in the light from the window.

My first proof was done using black charbonnel etching ink on Hahnmule paper and it worked fine although the result is darker than the final image will be because I have designed it to be printed in a soft ‘foggy’ grey.

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Since I proofed this print, I have spent another day working on a further acetate with the intention of this one being printed using graduated colours.

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I’ve been cutting my 30x40cm photopolymer plate up to create two plates that are 20.5 x 20.5cm and have been left with a longish strip of plate. Photopolymer is expensive stuff and I’m not letting any go to waste so I’ve divided the strip into four squares and am making little experiments using my textured acetates that I made in the lithography studio and tusch, Indian ink and other materials. I’ll try and do as many as I can so that I learn lots about the process and what results you can get whilst I have access to the equipment.

In between times I am working on two large collagraphs. Today I spent a good part of the day developing the second acetate and one of my experiments which is actually inspired by a view towards Hood Hill in North Yorkshire. I had a great printing session and proofed everything in black before mixing some colours up. That was quite a challenge as my Swedish is non-existant and there were many tins of ink so I had to look inside nearly all of them in order to find out what was on offer. I managed to mix a soft grey and a nice graduated ochre/umber.

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I think that this will look better when printed on to a whiter paper but I’m pretty pleased with the result so far.

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And here is the little sample using Indian ink.

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My plan now is to make another 20.5 x 20.5cm acetate tomorrow and whilst that is drying, I’ll finish one of my collagraphs and carry on with the little experiments. I’m buzzing with ideas and am having to be strict with myself and sit down and work through them methodically or I am in danger of becoming a grasshopper and jumping about all over the place. I’m working in a totally different way to how I work at home. I normally work on one plate until it is finished, only breaking off to print up editions of existing prints if needed. Here I am working on four or five ideas and three different methods of printmaking at the same time. It feels great!

Seeing the Wood for the Trees

So far things have been ticking along very nicely at Ålgården. It is good to immediately feel at home this time around and I am very pleased to have been given my own key and have my membership confirmed. I’ve developed a nice routine of getting up early(ish), having breakfast and then heading into the woods for a run. This sets me up nicely for working in the studio all day and into the evening. It is an opportunity to clear my head and focus on what I want to achieve each day and also helps me feel inspired. On Thursday we had snow and so I lengthened my route a bit to get up high on the crags where it was thicker.

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I was really pleased to see a hare in the path ahead of me and was able to watch it for a while before I disturbed it and I also saw fox tracks. Today I saw a pair of roe deer bouncing across the path and into the forest, they stopped to have a look at me!

Anyway, back to printmaking! One of my main goals is to try and develop my photopolymer printmaking. On the final days of my residency in 2012, I explored making transparencies using my monotypes and left feeling excited about some of the results. I love collagraph printmaking, it is my preferred method of working, but sometimes I want to convey atmosphere in my prints that I can’t seem to do in collagraph. I want some of the mark-making and softness that I can create with monotype but I’d also like to be able to create editions and have the freedom to play with the image without it being a one-off. For my North York Moors prints, I have been really inspired by a foggy run around Gormire but how do you create the ghostly ethereal atmosphere in a printing plate?048

I’m not interested in making plates from my photographs because my printmaking is about how I interpret the world around me and my response to it and I prefer to design my images and simplify my ideas constructing a print that illustrates how I feel/think about my subject. I want people to look at a print and have an emotional response to it as opposed to a more detached aesthetic appreciation. My aim is to inspire a sense of recognition in the viewer. I find it so difficult to explain what I am trying to do with my printmaking because I often just work from my instincts and a drive to explore an idea or make something that I’ve seen fleetingly into a lasting image. I don’t tend to analyse my work which is why I find it so interesting to talk to people about their interpretation of what I do. This year it is one of my goals to give myself time to think about what I want to achieve with my work and what I’m trying to say.

I wrote all about photopolymer in a previous post (Adventures in Photopolymer) and so I won’t go into it in detail here but I’ve spent the last few days making reduction monotypes on paper in order to organise my ideas and work out the logistics of how to create a monotype transparency for making my photopolymer plate.

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(two of my monoprints)

I also did a sneaky drypoint of the birches in snow on Thursday as I was a bit overexcited about the weather 😀 I then spent all day yesterday working on a piece of acetate creating a positive for developing onto a photopolymer plate on Monday. I started by rolling up the acetate in a very fine layer of black ink and then I dabbed that all over with a ball of tissue paper to soften and lighten it. I then removed ink using cotton buds, homemade implements such as a pencil with a bit of kitchen towel wrapped and taped to it to create a pointy wiping thing for fine detail and a variety of brushes. It was a painstaking process and I had to be very careful not to drop bits on it or get fingermarks in the ink. Every mark I made will hopefully be reproduced on the plate.

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The ink is oil-based so it stayed workable all day although as midnight approached, it was become decidedly sticky! I also painted onto the plate to get darker areas in the foreground but I blotted them with my home-made ‘dolly’ to give them some texture. This is the first time in ages that I’ve done anything that has been so close to painting. It will be very interesting to see how it comes out. I’ve got to wait for the transparency to be totally dry before I develop it because I don’t want it to stick to the plate. This meant careful transportation from the studio to my room so that it would be safe from today’s life drawing class.

So, today was life drawing and I spent two hours discovering just how rusty my life drawing skills are. By the end I was just beginning to get whole drawings done during the allotted 5, 4 & 2 minute poses. It’s good discipline and really forces you to make quick decisions and to think about your drawing as a whole. Definitely something I should make the effort to do more often. Right, I’m off to the studio to do some work on a large collagraph that I brought from home. It is of a birch wood (surprise, surprise) with deer inspired by a forest that I saw near Gormire (where I also saw deer). It will be a slow process cutting and painting all the textures into the plate so I’ll have it on stand-by for when I am waiting during various stages of the photopolymer plate-making process or for when the studio is busy and I can’t concentrate very well.

Extreme Printmaking!

It’s been a busy few weeks. Last week was an exciting mix of workshops and meetings and culminated in the Connections North Seminar at Harrogate Studio Theatre. This concentrated on the artists residency opportunities available to artists in North Yorkshire . Arts Connections had invited me to speak about my experience of doing my printmaking residency at Ålgården in Sweden. Others giving presentations were representatives from the Finnish, Scottish and Swedish centres as well as Sarah Smith, a fellow artist who did a stone carving residency in Sweden, and a representative from the Arts Council of England. It was an exciting and inspiring day and I was especially pleased to see Christina Lindberg and Anna Mattsson again.

This week I have been mainly outdoors!

A few months ago Paul Mosley, Hackfall Officer for the Woodland Trust, asked me if I would be interested in running an Inset day for teachers at Hackfall Woods with the emphasis on printmaking outdoors. Always up for a challenge and with Hackfall  being a favourite place of mine, I agreed. 27th March seemed a long way away and I was sure that on the day I would be leading a group of teachers happily making prints in the sunshine as the birds sang. Suffice to say that, as the snow fell and then fell again, I have been worrying about the workshop for some weeks!

I’m a bit of a perfectionist and tend to be meticulous in my lesson planning so I knew that the only way to ensure success was to do a dry run of the workshop the day before it took place. That way I could ensure that everything would work in the current weather conditions. So I can actually say that I spent two days printmaking in the snow 🙂

Using ArtisOn as a base, Paul and I met our 12 teachers along with Hackfall volunteer Sue Cockcroft, who was invaluable as a printmaking assistant. We then set off to Hackfall in the minibus. Paul had explained the idea of story sticks and a couple of the teachers decided to have a go. Story sticks are a way to engage a child’s attention right from the start of the visit by getting them to look for found objects to attach to their stick using rubber bands throughout their walk. This provides a visual record of their journey through the woods. Apparently it stems from an aboriginal practise.

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I then discussed the Geoartcache project that I was commissioned to do by Chrysalis Arts for North Yorkshire Open Studios last year. I’ve created a trail in the woods that combines printmaking, book art, wildlife and folklore. Further details are on the Geoartcache website. Originally the trail consisted of 10 caches and the book cache but it has been adapted to allow for the caches that have gone AWOL due to flooding, storms and skulduggery! There are now six stamp caches and the book cache so do go and have a look if you are in the area.

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Slipping about a bit, we headed down the hill for a spot of bark rubbing and the chance to ‘meet a tree’ before heading to the ‘beach’ to do sun printing (ha!). I love sunprinting and it has so much scope as an educational tool. It is based on the principles of cyanotype which was discovered in the nineteenth century and became popular with engineers as a low cost way of reproducing their designs as ‘blue prints’. Anna Atkins used it to record her extensive plant and seaweed collection and these were collected together in what is generally considered to be the first book published with photographic illustrations. She is also considered by some to be the first female photographer although that is open to speculation with Constance Talbot (Henry Fox Talbot’s wife) often being cited as the first (amongst others). Anyway, the process is great for combining science and art and I soon had my teachers creating photograms by looking for interesting found objects such as leaves, twigs, feathers and sand to create images with. They then laid the objects on the light sensitive paper and placed a piece of perspex over the top to hold them in place whilst we waited for the weak sun to do its work.

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Fortunately, you can sunprint even when its cloudy so within ten minutes the exposed parts of the blue paper had turned a very pale bluey white and the paper was ready to be developed in my little tub of river water,

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The chemical in the parts of the paper that have not been exposed to UV light are water soluble and wash away leaving the paper white whereas the UV exposed parts turn a dark blue. The blue deepens as the paper dries to become a beautiful cyan blue (a clue is in the name).

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I layered all the developed prints carefully in small sheets of blotting paper to dry and we headed along the muddiest path in Hackfall to check out one of my geoartcaches, ‘Waterdog’. I retold the story of St.Cuthbert and the otters and demonstrated the stamp and then we headed to my favourite folly, Fisher’s Hall, for a spot of monoprinting. I love this folly. Its a magical and meditative spot where you can sit and watch the river whilst listening to the birds. Here it is earlier in the year.Image

I had to use oil-based water soluble relief printing ink from Lawrence Art Supplies as my speedball inks didn’t perform very well the day before because of the cold.

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Everyone managed to make some lovely monotypes despite cold fingers but we decided that plasticine printmaking at the pond might just tip some of the less hardier members of the group into hypothermia so, instead, we headed up to the banqueting house to admire the view across the valley and in the other direction, to Mowbray Castle.

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Chris was waiting with his minibus at the car park to take us back to ArtisOn for lunch. Sue Palin spoilt us with three delicious soups and bread followed by scones and two kinds of cake 🙂 Full up and a bit rosy cheeked from the snow, I then set about showing the teachers how to make prints and stamps from funfoam, how to explore textures of found objects by printing from plasticine and the amazing things you can do with relief collagraph techniques. None of which need a press or any expensive materials. Here’s one of my collagraph sample boards:

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The teachers getting stuck in to making stamps.

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All in all it was an excellent day and proved that the weather should be no obstacle to having a good time! In fact I distinctly recall the first workshop that I ever did for the Woodland Trust which involved me leading a group of printmakers around Hackfall in the pouring rain to gather inspiration for two days of collagraph printmaking. The results were amazing and reflected the weather.

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So, if anybody is now keen to come printmaking in the woods, Paul is running a Family Day at Hackfall on the 10th April, 11am – 4pm. There will be pond dipping and I will be based in the Rustic Temple doing printmaking. Adults and children are welcome to come and have a go. For more information visit the Hackfall website. Booking not required. Hope to see some of you there and perhaps we will have some sunshine! 🙂

 

Vernissage(s)

Well, it’s been an exciting last weekend here in Borås. I’ve been continuing my experiments in photopolymer printmaking and have been to two exhibition openings (as well as a couple forays into the forest).

Modhir Ahmed, http://www.modhir.com/web/index.html, arrived on Thursday night. He is an artist from Iraq who has lived in Sweden for over thirty years and has an international reputation for his printmaking. He was here to put up his exhibition ‘Lord of the Earth’ in the gallery at Ålgården, where he is also a member. Friday was very busy with lots of people toing and froing in preparation for the opening and at lunch time we were all treated to a beautiful meal of smoked salmon and potatoes in a dill sauce (I’ve become a vegaquarian whilst I’ve been staying here as fish is a large component of most meals). In the evening, following my run in the forest, I went to the opening or ‘vernissage’ as they call such things here.

Lots of people came and when we were finally able to close the gallery doors for the evening, we all had a meal together in the Red House (the artists’ house where I stay).

Today was another busy day. It started with a lifedrawing session in the gallery. Our model today was Sassa, who was very good humoured and challenged us with no poses longer than 4 minutes and most were 2! It is interesting how the models lead the sessions here at Ålgården. All the life drawing I’ve ever done before has been led by the group, another artist or a teacher and the model played a passive role. I like the fact that the model is in control here. After the drawing, Anna Maria gave Ute and I a lift to another opening at a small town called Dalsjöfors. We stopped off at her house to pick up her husband, Peter, and were shown around their wonderful studio (they are both artists) and garden. The exhibition opening was for Ålgården member, Kristina Thun http://www.kristinathun.se/ who has been working every day since I’ve been here making beautiful lithographs and photopolymer prints.

I think her work is really atmospheric and her printmaking techniques are fascinating. She often uses up to seven different layers of greyscale to create her lithographs.

After that it was time to return to the studio and meet Anna Mattsson who had kindly offered to show me some techniques using wax including how to make image transfers and also work into wax on paper. It was really good fun and, during tonight’s run in the forest, I began to get ideas of how I might use it in my own work.

On the photopolymer front, I am currently waiting for two acetates to dry. I’ve created a much smaller version of the watery monotype that I did the other day. It was a two stage monotype but this time I wasn’t printing it and will be using it as a stencil so I needed to make two acetates to place on top of one another to create the whole picture. I used water soluble relief ink and that takes a few days to dry so I am now waiting (impatiently) for the acetates to be ready to expose onto my photopolymer plate. Ida has asked me if I will wait until Monday to make the plates so that she can come in and photograph the process. I agreed and am now glad that I did because I know what I’m like and if I wasn’t waiting for her, my impatience would have got the better of me and I’d have tried to expose them when they were still a bit wet and probably got them stuck to the plate 🙂 I’m also making another graphite drawing for a photopolymer plate and, all being well, will expose that tomorrow. A lovely surprise today was that Björn found an old ‘raster’ (or aquatint dot screen, as I now know it is called in English) that he’d made some years ago and he gave it to me as a gift to take home so that it will be easier for me to get straight on with my photopolymer printmaking. He also suggested that I prepare a load of films in the litho studio so I can take those home too.

I’m feeling really positive about this residency and the effect that it will have on my future printmaking practise. I’ve got stacks of ideas but also a real desire to experiment and push the boundaries of what I have been doing. I will talk more about that in another post but I need to get to bed now! I’ll leave you with a picture of Lennart and Kristina at the preview.

and Ålgården’s resident black rabbit 🙂