Connections North: Mirror Images (Part 1)

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Better late than never, I am writing this as Mirror Images moves to its final location at the Caithness Horizons Gallery in Thurso, Scotland. It will be on show there from 16th October to 28th November 2015.

Last summer applications were invited from printmakers based in North Yorkshire to take part in Chrysalis Arts ‘Connections North:Mirror Images’ project. This is an international printmaking project featuring the work of 40 artists from 4 countries, England (N.Yorks), Scotland, Sweden and Finland. It is a development of the connections already made between Chrysalis Arts, Ålgården Workshop in Sweden, Ratamo Printmaking and Photography Centre in Finland and Highland Print Studio in Inverness, Scotland. Artists specialising in or with a strong interest in printmaking were invited to apply to create two works each on the theme of ‘Place and Identity’. The idea was that the printmakers would create an edition with a minimum of 4 prints which would then be shown simultaneously in England, Sweden and Finland.

I was already a member of the working party that met regularly to discuss the logistics of the project and provide opinion and ideas to Chrysalis Arts but this was no guarantee of a place in the final exhibition as that was to be judged by three external selectors. These were Deborah Fahmy (Visual Arts Officer of Arts Council England), Sally Smith (Curator of the Inspired by gallery) and Martyn Lucas (a print specialist and curator). I was totally certain that I wouldn’t get selected, I’d had a previous disappointment with an application when my prints were judged to not have enough of a ‘contemporary feel with particular regards to subject matter’ and two of the selectors were from that panel! It had given me a well needed ‘kick up the backside’ to really consider how I present myself and my work and with that in mind, I sought advice about my cv, rewrote my statement and carefully selected the prints that I felt illustrated my desire to push myself and that showed best my technical ability. I was walking through Ripon checking my emails on my phone when the judgement came and, typically, the text of the letter didn’t download for ages! I really couldn’t believe that I’d been selected out of the 43 artists to apply.

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I designed my two prints whilst I was at Ålgården in February of this year. I spent two weeks creating numerous test plates and tinkering with ideas and compositions. It had been snowy when I left Yorkshire and I arrived in Sweden to find thick snow and iced over lakes which suited me perfectly. I worked with idea of the contrast between the ephemeral and the enduring as the land changed daily between thaws and snowfall.

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The relief and intaglio studio.

I explored themes of pathways, tracks, trods & traces which directly relates to my fellrunning but also to the landscape where I live which is essentially a playground for all adventure lovers, cyclists, walkers, runners, cavers & even the occasional paraglider. It’s also a region of quarrying & sheep farming.

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Ideas for a layered print about Penyghent and my fellrunning. It includes a garmin trace of the speed and ascent of an actual run that I did.

I managed to get one of my prints proofed whilst in Borås but the plates for the other print were still in the making stage.

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Collagraph plate varnished with seven layers of shellac to allow for drypoint techniques.

To cut a long story short, I worked on both prints for over a month and eventually was ready to proof them just before the delivery deadline (no different to my normal working methods then!). Here they are:

Hester Cox Tracks and Traces

Tracks and Traces, 6 plate collagraph print, 230x475mm

Hester Cox Enclosures

Enclosures, 4 plate collagraph print, 294x417mm

In the next post I will talk briefly about the project as a whole and some of the workshops and talks that took place as well as post some photos of the exhibition.