Background
I am currently researching a cross section of Galleries and Exhibitions to guide me in progressing my professional practice as a visual artist.
I think that it is important that as well as looking at traditional art galleries and exhibitions I should also consider some local exhibitions and gallery space. It is more likely that these venues will be suitable outlets for my work.
The North Lincolnshire Print Open Exhibition, 2019
I have previously been to workshops organised by Melvyn Pettersen who is a well-known and highly regarded painter/printmaker.
I went to the opening of the exhibition and was interested to not only see my own prints, but all the other work on display. I think that I can learn a lot from the other artists whose prints feature in the exhibition.
I took a number of photographs to make a record of works which I think may be important to me from a conceptual or technical point of view. They act as a reminder of what I saw and as a prompt for further investigation.
In addition, my purpose was to research the curation of different types of exhibitions and how curators can approach their topic. This may vary from the way a gallery is set out, to the concept behind the approach. My purpose is to gain insight into how I may improve the curation of my own work, such as the Exhibition I gave in the HSAD building of my work at the end of Module 2 - Research and Development.
Art Space
My prints were on display in the Art Space, which is the larger of the two galleries. Two of my prints, which used the drypoint technique, had ropes and driftwood as their subject matter and were hung next to each other. The ropes were a particularly relevant topic as the venue of the Ropewalk building was historically used for making ropes and the place combines a small museum of its ropemaking heritage.
The prints were included in a span of other monochrome works, which the curators had picked out as complementary. Some of the other prints alongside my own were lino cuts and screen prints. They were displayed in a minimalist style where they were shown to maximum effect in a single row on a plain white background. There was no over crowding or mixing of styles or colour, which was very effective.
My prints, Art Space, the Ropewalk
My prints alongside other monochrome works.
The other print which was selected was a view of Horkstow Bridge. This is a new work, and I had only just completed it prior to the date of submission for the exhibition. Again, it is monotone, but I used a different technique. I took a piece of aluminium and applied a "soft ground" onto the plate into which I drew the composition. It was then etched in copper sulphate and then an aquatint was applied to give tonal areas.
My print of Horkstow Bridge (Upper print)
My print as exhibited in context
This work was included in a run of prints of landscapes and other topics, some of which were in colour. Mine was placed above another landscape which complemented my theme. Some of the prints on this wall of the gallery were in bright colours, which gave variety. I was interested in the use of colour and in the techniques used in making them.
Use of Colour
I have selected a range of photographs of exhibits from the Ropewalk's Art Space and Gallery One. I have included those which I think I can learn from. I include a brief summary of the technique used so that I can further my research into those methods by contacting relevant artists. Some of the photographs unfortunately include glare from the overhead lights.
Art Space
Lucy M. Hainsworth, Bridging the Kyle, Silk Screen (Winner)
Sally Beaumont, Japanese Piebald, Photo Litho, (Runner Up)
Katherine Rhodes, The Pinnacle at Froggatt Edge, Linocut (Runner Up)
Penny Kealey, Frieze at Burton Constable, Woodcut (rearranged)
Susan Wright, New Topology 2, Etching
Louise Mcniff, Moor, Early Spring, Screenprint/Monoprint
Lucy M. Hainsworth, Valentine's Fair, Silk Screen
Sally Beaumont, Basrah Horse and Cattle Show, Photo Litho with hand colouring
Stef Mitchell, Rhododendron looking over to Arran, Nature Monotype
Clarissa Dixon, Double Yellow, Concertina, Red Paving, Road Surface, Collagraph
Gallery One
Jemima Davis, Untitled 1, Etching, drypoint and chine colle
Sue Allison, Butterfly Wing, Reduction Linocut
Ian Mitchell. Northern Breakwater, Vector Drawn Digital Print
Katherine Holland, Egyptian Dance, Drypoint/Monotype
Lindy Norton, The Visitor I, Drypoint, Etching and Watercolour
Lindy Norton, The Visitor II, Drypoint, Etching and Watercolour
June Barker, Hedgerow I, Collagraph
Jan Stead, Water, Artist's Book
Summary
I have identified the following categories of ways to incorporate colour into my prints which
I can research further:
- Silkscreen (plain or multi-coloured backgrounds, or painted onto screen "monoprint" style)
- Layering techniques (e.g. coloured backgrounds for drypoint, or combining coloured collagraph with overprint of dry point)
- Single colours (e.g. blue)
- Applying printing ink A la poupee (by hand selecting areas to be individually coloured before rolling through the press)
- Hand colouring (watercolour, pastel etc. over different types of prints)
- Nature monotypes in colour, either as individual prints or as backgrounds for others
- Chine colle (use of coloured tissue paper placed on top of print and coated with glue before going through the press)
- Drypoint combined with monotype
- Artist's Books combined with any of the above
I also think that some of the prints are informative from a painting point of view and the option of using a restrained colour palette e.g. works by Ian Mitchell, such as Northern Breakwater (above).
Curation
The exhibition was informative in the way that it clearly showed effective hanging choices e.g. minimalist approach, monochromes, coloured and sympathetic subject matter placed together.
No comments:
Post a Comment