So…I’m going to be regularly using my blog again for an exciting new project but before I start that, I just wanted to tie up a few loose ends regarding ‘Within These Walls’. Since I last wrote, I have been commissioned to recreate the central collagraph print for a hospital in Sweden. It is undergoing major building work and there is a pillar in the main reception area that they would like to hang my work from so I spent October/November of last year reprinting it! No small order as it required a few trips to Northern Print to use their lovely big electric intaglio press and then I had to line it and sew it.
The pillar is grey so my contact, Torbjörn, suggested that it it might be better if the material was more opaque. Unfortunately, I used the transparency of the lovely cotton voile so that I could see through to register the plates each time so it looked like lining it would be the best option. That ended up being quite a mammoth task but I used an iron-on cotton interfacing which worked well as it provided a bit of stability too. It was a bit of a nightmare to attach but I was able to hire the village hall again and lay the work out. I was methodical and careful and I also put a few eyelets down the sides so that the work can be secured away from the wall with bolts if needed. Due to a scalpel disaster, I managed to bleed over the work at one point but luckily blood washes out with cold water…
Then I enlisted the help of my lovely friends Sheila Smith and Lorraine Garlick and they hemmed the whole thing for me. They did the most amazing job including handstitching the pockets for the acrylic rods with invisible stitching. I have learned so much from them both and am forever grateful for their patience and enthusiasm.
Then it was a case of cutting the new acrylic rods to size, securing the screw-eyes in the ends and rolling the whole thing up in acid-free tissue ready for sending by courier to Sweden. It was a little pricey but Euro-Trans Despatch delivered it safely in less than 24 hours! As is the way of the world, building work has been delayed and the hospital isn’t finished yet so I don’t have any photos of it in situ but I promise to post some when I do.
In summary, I was planning to develop this project but unfortunately, the next venue for it fell through, time has passed and I’ve got involved in other projects but I have been so lucky to have had two of the monotypes on paper purchased for public display in Sweden, the commission for the hospital and also my monotype, Meadowsweet, selected for the 2018/19 New Light Prize Exhibition. I’ve now just found out that the collagraph panel will be on display as part of PrintFest7Oaks in May 2019. I’m so pleased to be a part of this event. It is a print festival held in Sevenoaks founded and directed by Christina France. Christina is also a member of Ålgården Studios and this year she has planned two shows for PrintFest7Oaks. The first will be by members of Ålgården Studios and held at The Kaleidoscope Gallery and I have been invited to show the collagraph at that. I will also be giving a talk at the gallery in the evening of the 9th May to discuss my connection with Ålgården and how the installation came about. I will then have a piece of work as an invited artist for Printfest7 at Ålgården Studio Gallery in September. All exciting stuff and there will be lots of information and links on my website.
So for the next year I am going to be blogging far more regularly about a project that I’ve just begun with the Dales Countryside Museum in Hawes. look out for the first post on that in the coming days…
Well, the progress report from Sweden is that I’ve completed the prints on two of my 4 metre hangings but I’ll rewind a bit before I talk about that.
On deciding to do this project I had to face up to the fact that I am not a ‘textile person’ and I don’t own a sewing machine. I know nothing about fabrics and I had a few weeks of complete indecision and confusion about what material I should use for my hangings. I am fortunate to have friends that are very good textile artists so I sought their advice on what they thought might be good to print on. My stipulation was for something that would be a bit translucent so that the light would play with the prints, preferably have some stiffness so that it would be easier to print onto and hang nicely and not be too expensive. My friends didn’t let me down, they came back with organdie, organza or cotton voile. I then ordered some metre samples from a textile mill in Bradford called Whaleys. As I don’t have funding, cost was an issue and the voile comes in very wide lengths which could be cut up the middle to make two hangings for every four metres whereas the organdie is lovely but very expensive and too wide for a single hanging but too narrow for two which would mean a lot of wastage.
The organza was gorgeous but printing on it with reduction monotypes didn’t work at all so I chose the middle ground of voile and ordered 16 metres (the above image shows a monotype and a collagraph printed on voile). I then had a trip to the mill to pick it up the day before I headed to Sweden and spent a ‘fun’ two and half hours trying to lay it out and cut it into 4 x 4m lengths which I then had to divide in half and cut up the middle. I am so glad that I bought some rather expensive scissors for the job and didn’t try hacking it all with my kitchen scissors!
So, off I trotted to Sweden with a roll of fabric carefully packed inside my new giant kitbag. Last time I was at Ålgården I had had reactive arthritis in my knee and was unable to walk properly so I’d been confined to the studio and the immediate surroundings. Frustrated by my inability to explore further, I’d looked close by for inspiration and had collected some plants to photograph the shadows against my bedroom wall. I worked with this imagery in the studio creating reduction monotypes and photopolymer plates. I also made one very large print of a rosebay willow herb shadow and fell in love with the 1x2metre etching press.
Back in August last year, it occurred to me that I’d like to work with the shadows of the meadow flowers in a similar way but I’d missed the boat somewhat as most of them had either died back, set seed or been cut. Fortunately I managed to gather a few stragglers and took as many photos as I could using my head torch and the spare bedroom wall. It was these that I worked from in Sweden.
I started with a bunch of grasses and I made that print first but then realised that I really ought to design the hangings properly and work on the composition so I spent a day sketching and moving bits of tracing paper about on graph paper until I came up with a good design for two hangings that will hang either side of my 4 metre collagraph. This wasn’t as straightforward as it sounds as I spent an afternoon trying to create graph paper on the computer using word because the studio’s version of adobe was out of date and wouldn’t open the free downloads I got off of the internet. It meant I had to keep using google translate to understand the Swedish commands and it was something of a challenge but I managed it and got an A3 copy done (whilst the photocopier jammed repeatedly). I then went into the framing room and was searching for a ruler and came across a lovely pile of graph paper…I did feel slightly stupid. It’s things like that that make the ultimate success all the more sweet!
More on the reduction monotype process in the next post but before I go today, I’ve had some interesting conversations with some of the artists here and found out that buttercup is smörblomma (butter flower) and wood cranesbill is midsommarblomster (midsummer flower). I’ve also discovered that the meadows are as much under threat here as at home and that our upland meadows have the same species of flowers. Not that surprising really but quite a good link between the two countries that I may be able to use in the future.