February Prints - Mono printing using Acetate Plates

 The following abstarcts were the starting point for the prints.  These were from the 1x1 m painting called 1m no1.

For these mono prints I used acetates normally used for OHP's as the plates.  I brushed the oil paint on quite thin and was careful to leave strong brush like impressions.  The plates in themselves are quite colourful compared to the actual prints which retain more of the white of the paper.

Influences at this point are Peter Lanyon and Sean Scully.  Peter Lanyon painted landscapes that he felt he was a part of.  He was interested in the intersections between edges like the sea and the sky etc.  His paintings of aerial views particularly resonate with this work.  Capturing something of a perspective, meeting points and solitude.

Check out his prints:

http://www.tate.org.uk/art/artworks/lanyon-the-returned-seaman-p07741

 The idea was to create layers using two plates on the same paper.  Here I was experimenting with combinations. The glossy surface of the acetate creates other imagery caused by reflections.

Prints including close ups

Print 1

Print 2

Print 3

 Print 4

Print 5

 

Print 6

February Prints - Mono printing

The origin for the mono print was the following abstract of one of the original paintings.

 Abstract of 1m no1

Peter Lanyon

 

Peter Lanyons work may not share many visual similarities with my work apart from perhaps use of colour and print.  His affiliation with the landscape is where I propose the parallels.  Partly because he wanted a visual language to describe the landscape as he perceived it or enjoyed it.  It is in the enjoyment of the subject.  To be in, surrounded by and part of the landscape.  Having said that I am not a native to this part of England and in a way an interloper.  Peter Lanyon was from his landscape.  Like Graham Sutherland another of my favourite artists he sought to paraphrase what he saw until it was almost ambiguous. 

With my prints I want to simplify the language rather than have it shout and scream seemingly above the noise.  It seeks to be more subtle.  The other parallel with my work and Peter Lanyons is the meeting point of lines where one line cuts off another or another line begins.  Landscape is just a large space for lines to meet.

http://www.tate.org.uk/art/artworks/lanyon-coast-t07819

Two small pieces of perspex were used to create an effect of layers.  I used normal oil paints and a fairly bristly brush to apply the paint. Water soluble oil paint can also be used.  I applied the paint in layers and allowed the colours to merge here and there.

The paint was laid quite thin and the brush marks were quite defined.  This was so that on printing there would remain the imagery of brushwork.

Once the first plate had been completed I painted the second plate.  When printed I did not want the first layer to be obscured, I wanted the underneath to show through quite well. 

Put together both plates alluded to what the print might look like.

 Some close ups of the plates.

 The reflections on the perspex reminded me of Ola Kolehmeinens work.  Large colourful abstract photographs behind perspex. Partly he wanted the viewer to be able to interact with the work and almost become part of it.

I was thinking of how you could build up plates and create unlimited layers.

Interestingly the print appears different in colour to the plate and is less dense.  There is an effect although subtle of layers.