Research: Print Making - Interview with Mary Carrick, Printmaker

Research: Print Making - Interview with Mary Carrick, Printmaker

Introduction/Background Information

Mary Carrick M.A., a former arts and crafts tutor, specialises in Printmaking and has exhibited her work in galleries locally, including the Ferens Art Gallery, Hull, The Ropewalk, Barton upon Humber, Caistor Arts Centre, Lincolnshire and the Beverley Art Gallery. Mary tends to concentrate on collagraphs, but she experiments with a number of different mediums and techniques. It is her exploration of methods and use of colour which attracts me to her work.

Mary's work is also interesting in the way that she sometimes incorporates fabric or embroidery into her prints. This aspect resonates with the research I undertook earlier into Michael Raedecker, who also is inspired by fabrics and embroidery.

I was pleased therefore when she agreed to be interviewed and she was very willing to show me examples of her prints and her working methods. I include some photographs by way of illustration below.

 

Mary Carrick, Landscape, aquatint on aluminium, inked "a la poupee" (colours inked by hand)

Interview 

General:

1.       Are you inspired by particular artists (past or present)? – If so, who and why?

 Durer, Da Vinci, Morris, Brueghel. I greatly admire the prints of Durer and Da Vinci; the wallpaper and fabric prints of Morris & Co. and the landscapes of Brueghel.

 

2.       Are you interested in any artistic movements or theories – if so, what and why?

 

I am interested in Art Nouveau and the Arts and Crafts movement of the Pre-Raphaelites. I love the use of curves and Celtic designs and the romanticism of the Pre-Raphaelites.

 

3.       Do you aim to make a point through your work e.g. political/social/ environmental? If so, how?

 

I am not really interested in making a point through my work.

 

4.       Have you been influenced by your background or surroundings? If so. How?

I have always been interested by the environment in which I grew up and the natural world; in particular botanical subjects.

 

Mary Carrick, Boat at Dusk, Collagragh, inked "a la poupee"

5.       How would you describe your own “personal artistic voice”?

I am not sure that I have a personal artistic voice; I create prints and pictures purely for the pleasure of it.

6.       How do you promote yourself as a Professional Artist? Do you have any advice?

The only way I promote myself as a Professional Artist is through networking with fellow artists.

 

Mary Carrick, The Plough, Monoprint background with stencil applied on top (black)

Practical (Printmaking):

1.  Do you specialise in a particular medium or mediums?  -If so, what and why?

I tend to specialise currently in print-making but also enjoy textile art through machine embroidery. Within print-making I prefer collagraphs for the versatility of the plate and range of mark-making and tone possible. Machine embroidery allows a freedom of expression not possible with other media and the possibility of 3-D work.

2.  Please describe your way of working and why e.g. do you work from observation, memory, photographs or in some other way?

 I work mainly through photographs but with observation as well at times.

3. Does colour play an important role in your practice?  - If so, how?

Sometimes I enjoy using colour to create a more striking effect and creating a different mood but I usually prefer monotone.

4. . Do you think that monotone can be effective? If so, in what ways/ circumstances?

I believe monotone can be very effective; especially creating prints, as it is still possible to create a good tonal range within a single colour, which is as effective as using different colours.

Mary Carrick, Seaspray, Collagraph with net, sandpaper and French chalk (spray)

5. Can you describe how you achieve mood or atmosphere in your work?

With reference to the above, I achieve mood and/or atmosphere in my work through the use of different tones and different media such as carborundum and tailor’s chalk.

6. . How do you relate your work to the viewer?

I am afraid my work is purely personal but would like the viewer to enjoy it and relate to the mood created.

Curation:

1.       What do you consider to be the main considerations in curating an exhibition?

This is an area with which I am unfamiliar but would think that it is important to make any exhibition interesting through a variety of media but also accessible without anything being too high or too low to be enjoyed by the general public.

 

2.       What do you think are the most important elements in an art exhibition/gallery from the point of view of the experience of the viewer?

The most important elements must be that the works are not too esoteric or obscure and they cover a range of different types of media to be inclusive – not mainly of one particular type which happens to appeal to the panel choosing the exhibits.

 Other Comments:

Art should be accessible to all, as should the availability of tuition sessions. Commentary on exhibits should be explanatory without being condescending or too technical.

 

Mary Carrick, Swan, collagraph with" mask" (swan) and dry point on Perspex

 

 

Mary Carrick, Burton Agnes Hall, Aquatint on aluminium with sandpaper (bushes)

 

 

Mary Carrick, Cockerel, collagraph, wallpaper, acrylic paint, wool, material, sequins, machine embroidery

 

 

Mary Carrick, Butterfly, screen print with  aqua crayon (butterfly) and hard pastel added later

 

 

Comments and Summary

 

Mary uses a wide range of techniques which I can learn from. I would like to experiment in the use of stencils and masks as I have not tried these methods before. The use of the stencil enabled Mary to produce a very strong silhouette of the plough against the background of a stunning sunset. I think that I could use the idea of the "mask" in a number of different ways, perhaps for adding layers where I want to create an element of "time" or "eeriness" to an image. In a number of her prints there is more than one process or layer of work. Also, a number of different materials can be incorporated (e.g. material, French Chalk etc.) I believe that this is an area that I can really develop to create more unique and interesting prints.

 

The examples also illustrate Mary's good use of colour. Sometimes she uses monochrome very effectively (Burton Agnes Hall/ Boat at Dusk), or colour very subtly (Landscape). In other prints her use of colour is bright to express the context and create mood and atmosphere (Cockerel and Butterfly). Sometimes she applies the ink direct to the printing plate by hand, carefully using different colours for different areas. Often Mary will use a coloured, pre-prepared background of a collagraph or screen print for example, to provide a coloured base to work from.It is also interesting to note that she can use colour afterwards to enhance a print - this may include pastel, or it could be water colour, acrylic paint etc..

 

In conclusion, for the above advice on techniques and the use of colour, this was a very rewarding piece of research.

 



Research: Printmaking - Interview with Jean Edwards, artist

Research: Printmaking - Interview with Jean Edwards, artist

Introduction and background

Jean Edwards attended Bretton Hall College, Wakefield where she was taught by Jenny Kirkwood and Phyllis Tate, who specialised in printmaking. It was there that Jean developed her passion for screen printing. Jean is a founder member of the Hull Print Collective and has exhibited her works widely across the area.

I have seen a number of Jean's works in exhibitions and I am particularly interested in how she achieves her "layered" effects and her use of colour.

                        Jean Edwards, Triptych, Hull Fishing Heritage Exhibition, 2019

Interview

General:

Are you inspired by particular artists (past or present)? – If so, who and why?

1.      I really love the work of both Gail Brodholt [Printmaker] and David Hockney. Much of Gail’s work depicts the London transport network and the journeys made across the network and the city. Some of my prints are inspired by visits to London, Europe and Dubai.

Much of Hockney’s work is inspired by his visits to various parts of the world.

I love their use of strong bold colour which is often a feature of my work.

 Are you interested in any artistic movements or theories – if so, what and why?

2.       I am interested in Fauvism. I know it was a very short lived Art Movement but it was all about colour. This plays an important part in a large percentage of my prints.

Do you aim to make a point through your work e.g. political/social/ environmental? If so, how?

3.       No 

 Have you been influenced by your background or surroundings? If so. How?

4.       I live in a rural part of East Yorkshire but on the edge of an industrial area. I often go out with my camera to capture a view or something which interests me and may be inspiration for a print. My surroundings have definitely influenced me.

I attended the High School for Art, Hull and Bretton Hall College, Wakefield. I was very fortunate to be taught by Jenny Kirkwood and Phyllis Tate, two inspirational teachers. They were both passionate about printmaking. It is because of them that I am also passionate about it.

 How would you describe your own “personal artistic voice”?

5.        I am passionate about screen printing and tend to specialize in this area. In the main I think I have a recognisable style that is distinctively mine. All of my prints are original and are taken from my own photographs.

The technique I use for generating my stencils for the prints is unique to me.

A lot of my prints are also vibrant and show the use of a strong colour palette.

 

 

Jean Edwards, Then and Now

 

Image 1 - men waiting for the trawler on the dock
Image 2 - men looking at the fish in the bins
Image 3 - the fish in the sheds
Image 4 - filleting the fish
Image 5 - the barrow boy moving the fish in to the boxes

How do you promote yourself as a Professional Artist? Do you have any advice?

6.       I am a member of Hull Print Collective and promote myself through the website which has links to Facebook and Twitter. I submit my prints for entry to local Open Exhibitions and take part in local exhibitions as part of the Collective.

 Practical Painting/Printmaking):

Do you specialise in a particular medium or mediums?  -If so, what and why?

1.       I specialize in Screen printing. I have always had a particular interest in this area of printmaking and was very fortunate that I was able to do printmaking for part of my A level Art Coursework and continued with it at College. I am passionate about screen printing. There is often an element of surprise!

 

Please describe your way of working and why e.g. do you work from observation, memory, photographs or in some other way?

2.       I work from my own photographs. I manipulate the images using ‘gradient map’ in Photoshop to create the stencils which will be applied to the screens using a photographic process. This process allows me to create some very interesting stencils.

 Does colour play an important role in your practice?  - If so, how?

     3.       Colour plays a very important role in my practice. My prints usually involve multiple layers of   2 to 5 different stencils. Each one being printed in a different colour. I often use strong and contrasting colours but occasionally I use some more subtle tones.

 Do you think that monotone can be effective? If so, in what ways/ circumstances?

4.       Monochrome can be effective. I have recently printed a series of ‘Winter Trees’ using this method. I liked the simplicity and it ‘worked’.

 

Can you describe how you achieve mood or atmosphere in your work?

5.       This often depends on the subject matter. I think I have been successful in achieving ‘atmosphere’ with the use of colour, in a series of landscape prints of trees.

How do you relate your work to the viewer?

6.       I hope that my prints will be displayed in a good position in the gallery, if possible. I hope to get a positive reaction from the viewer, and for this reason I would like to include a piece which has been inspired by the local area.    

 

Curation:

What do you consider to be the main considerations in curating an exhibition?

1.       Having enough time!

Book the available space and receive exhibition dates in writing from the gallery.

Consider any cost implications.

Decide if you want a ‘theme’ for the Exhibition .

Assume nothing!

 

What do you think are the most important elements in an art exhibition/gallery from the point of view of the experience of the viewer?

2.       Visitors should leave with a new knowledge so it is important to have some additional information to accompany the work / artist or artist group.

              The exhibition should be vibrant and thought provoking.

             Some information which explains how the artist can be contacted [if appropriate].

 

 

Above, illustrations of detail of Jean's approach

 

Supplemental Questions

Would you be able to include what technique(s) you used to get that lovely “layered” effect? I thought that it really suited the subject matter as it gave an impression of time passing and an air of mystery. Could you also say something about how/why you chose that colour palette and the method for including the colours?

It took me a long time to resolve the piece I did for the 2017 exhibition. I nearly abandoned it but that is not in my nature. After giving it a lot of thought and bouncing around a few ideas in my head I knew I wanted images of the old photographs printed over the top of what the dock looked like now. I wanted it to look haunting and to tell a story. I chose lots of old photos which interested me which were taken on St Andrew's Dock. I converted them in to 'dots' using photoshop and produced a folder of A6 samples. They didn't all work as some of the images were of poor quality.
I went on to St Andrew's Quay in February 17 when the sky was clear and the sun was low. I knew I wanted to capture the detail in the reeds and the graffiti on the walls of the Lord Line building. ! I took lots of images. I then had to select which 6 [it was going to be 6 originally!] old images of the workforce I was going to print over the top of the photographs I had taken. This was easier said than done. It was important that the image in black dots 'worked' with the photograph I was intending to print on. Lynne was our tutor at the time and I printed the first final piece at college. Lynne was really enthusiastic about it and she said it looked haunting. That was music to my ears as that was the effect I wanted to achieve.
So in answer to your question below my colour palette was chosen for me. I didn't alter the photos in any way. They were the colours I saw when I went to photograph the old dock each time. I just printed the images which were converted to dots over the top!

 

Other Comments

I was interested in Jean's inspiration, so I did some research on the prints of David Hockney and the work of Gail Brodholt, who is new to me. They make significant use of bright colours, which is a feature that I feel I could build on in the future.

 

http://www.hockney.com/home

 

 http://www.gailbrodholt.com/

Research: Painting/Printmaking - Interview with Mandy Payne, artist

 Research: Painting/Printmaking - Interview with  Mandy Payne, artist

Introduction 

I have previously identified Mandy Payne of significant relevance to my practice as she is an artist with a primary interest in portraying the regeneration of inner city environments and the transitory nature of urban communities. Her subject matter therefore links with my interests in how landscapes are changed by human activities.

 

Mandy Payne, On Death Row

 

Personal Details

Born: 1964, Pontypool, Wales

Mandy has had an interesting career. Prior to 2012 she had a 25 year career as a Dentist in the NHS Community and Hospital Dental Services

In 2013 she gained a BA (Hons) Fine Art (First Class) degree at the University of Nottingham and in 2015 she was awarded a 2 year Fellowship to study stone lithography at Leicester Print Workshop under the tutelage of Serena Smith.  

Mandy has held solo exhibitions and has also been included in group exhibitions at several galleries and exhibition venues both nationally and internationally, including the Herrick Gallery (London), Huddersfield Art Gallery, Bowes Museum, Jiangsu Art Gallery (Nanjing, China), Menier Gallery (London), Walker Art Gallery (Liverpool), Bankside Gallery (London), and National Museum of Poland (Gdansk, Poland).

Mandy Payne, Express Excess

Background Information

Mandy is a member of the Contemporary British Painting Group. Works from her series studying the housing estate of Park Hill, Sheffield show its dilapidation and Brutalist architecture and feature in private and public collections. She has won multiple awards and  received many commissions. Her work has been selected for the John Moore's Painting Prize (2014 & 16), the Royal Academy Summer Exhibition (2014 to 2018) and the Threadneedle Prize(2013). In 2017 she was noted as an artist to watch in the Observer/Guardian Rising Stars list.

Mandy is also interesting because of her innovative use of materials. In particular, she often paints directly with aerosols on to concrete. As a painter and printmaker, she works on a range of surfaces including paper, concrete, etched aluminium and discarded marble work surfaces or floorboards salvaged from the derelict or decommissioned sites she is depicting. She creates stone lithographs of her drawings and her painting materials include various combinations of aerosol paint, roofing sealant, acrylic and lithographic crayon directly onto board or her purpose made concrete slabs.

Much of my practical research so far has included experimentation with different materials and techniques, so I was very pleased when Mandy agreed to be interviewed, especially when she is in so much demand.

 

Mandy Payne, Golden Lane 

 Interview

General:

Are you inspired by particular artists (past or present)? – If so, who and why?

My work is inspired by loads of artists both contemporary and historical. They include: Georgio Morandi, Euan Uglow, Richard Diebenkhorn, Prunella Clough, Emile Nolde, Egon Schiele, Kathy Kollowitz, Wilhemenia Barnes Graham, Ivon Hitchens, David Hepher and George Shaw.  
I think they are all linked by their strong use of line, draughtsmanship qualities and colour although some are more abstract than others.
Georgio Morandi for his muted palette, his simplicity, his repetition of forms, his use of negative space.
Euan Uglow/ Wilhemenia Barnes Graham – their use of geometry and line and almost mathematical approach.Emile Nolde – (particularly his vibrant watercolours) and Ivon Hitchins for their bold use of colour

Egon Schiele / Kathe Kollowitz – their rawness and expressiveness which is so powerful, almost brutal

David Hepher – his subject matter, originality, use of materials and scale 
George Shaw – subject matter use of materials – sheer skill  

Are you interested in any artistic movements or theories – if so, what and why?

Bauhaus / Modernism / Vorticism/ Futurism 
For their pioneering radicalness/ simplicity / forward thinking 

Do you aim to make a point through your work e.g. political/social/ environmental? If so, how?

 

Mandy Payne, Paradise Lost

Yes, I do, my work focuses on gentrification, the urban landscape in transition, the housing crisis, lack of investment by this government (and previous ones) in the provision of adequate social housing. I record places before they are lost with a particular emphasis on estates. I am quite careful in my titles of work and hope that gives some window in to viewers to the underlying political message. 

Have you been influenced by your background or surroundings? If so. How?

Yes, I think every artist’s background informs their work. I am a Northern artist from an ordinary background although I have never lived on any of the estates that I depict. This is a second career for me as I spent 25 years in the NHS prior to working as a full time artist. I sort of rode two horses for many years trying to build up my arts practice as I worked part time. In the NHS I worked in quite socially deprived areas and many of the people I cared for were on the margins of society (many with learning disabilities and largely overlooked in many ways by society). I think this is why I tend to gravitate to the places I do.

 

Mandy Payne, Deeply Divided 

How would you describe your own “personal artistic voice”?

I am interested in the materiality of works, textures, the haptic quality of surfaces. Also, the geometrical and draughtsmanship quality is important, as is colour.

How do you promote yourself as a Professional Artist? Do you have any advice?

In the beginning never say no to anything! As you progress you can be more selective. You never know who might see your work and where that might lead…

I entered lots of open competitions when I first started out, if successful it gives wider exposure, you may as well at openings meet fellow artists which could produce further collaborations. Also don’t let rejections get you down – be tactical and selective in what you apply for – who are the judges are is important. Also just because you’ve not been selected for one competition doesn’t mean the same work wont get into something else,
Have a professional website -It’s often your first port of contact.
Always be professional in your dealings with people, prompt response to emails, consistent pricing etc.
Be true to yourself don’t do something unless it feels right- always follow your gut instinct

 Practical Painting/Printmaking):

Do you specialise in a particular medium or mediums?  -If so, what and why?

Printmaking – over the years I have experimented with most types of printmaking but now focus on stone lithography. This modality really suits my practice as drawing is at the root of all I do. I did a 2.5 year Fellowship in stone lithography at Leicester Print Workshop (approx. 200 days learning the process with another artist and expert Lithographer Serena Smith) 
Painting – again have experimented with most media – but tend to use mixed – oil, acrylic spraypaint. As I said earlier I like textures so often use other substances like dental plaster, roofing sealant etc and embed other materials in them to alter their surface quality. (A legacy from making collagraphs – I find my printmaking feeds my painting and vice versa)

Please describe your way of working and why e.g. do you work from observation, memory, photographs or in some other way?

I work from observation, drawing and painting in situ but mainly from photographs (not studied photos – just snaps taken on my phone quickly. I am often taking snaps of people’s homes and so find a phone camera more discreet and less obtrusive than using a ‘proper’ camera.)

Does colour play an important role in your practice?  - If so, how?

 

Mandy Payne, Priced Out 

Colour is really important to me – Although many of the places I depict are quite bleak I like to find some colour in order to lift them.

Do you think that monotone can be effective? If so, in what ways/ circumstances?

Yes I think monochrome can be effective (especially in printmaking) and I love the works of John Virtue which are monochromatic and really atmospheric and expressive (although that may also have something to do with the scale as well as the palette). Even in my lithographs though (which are often black and white) I like to add a splash of colour by either using chine colle or another plate or monoprint.

Can you describe how you achieve mood or atmosphere in your work?

I think the textural quality of the concrete helps and also the spray paint gives the work quite a diffuse quality.

 

 

           Mandy Payne, Ripped the Heart Out

How do you relate your work to the viewer?

I hope the viewer will connect to the materiality of the works but I don’t think it’s my place to be prescriptive. Each individual viewer will respond differently and individually. I think my work has a very niche market, some people really get what I ‘m trying to say, others think its bleak and don’t get it at all. 

Curation:

What do you consider to be the main considerations in curating an exhibition?

That the work should be cohesive, coherent and connective. Ideally with an underlying narrative. I always think its good as well to give work plenty of space 

What do you think are the most important elements in an art exhibition/gallery from the point of view of the experience of the viewer?

That they should have enjoyed the experience, that it made them think, that it might have changed or reinforced their viewpoint. That it exposes them to new insights/ experiences.

Mandy Payne, John Moore's 2014

More information about Mandy Payne and further examples of her work may be seen on her website:

 https://mandypayneart.co.uk/

 Conclusions and Summary 

Mandy's responses to the questions really clarified her ideas and working methods. I think that her use of a diverse range of  materials relevant to her subject matter provides authenticity to her work. I have tried this on occasion - such as the use of steel for some of my images of the cement works, which proved to be quite successful. I feel that I can build on her ideas and adapt them to my own needs.

 I was interested to hear her views on the use of colour and the way that she uses it in a minimalistic way to accentuate certain parts of the image. Again, I have tried this during my practical research element and can explore this further. There are many good examples from her paintings where she has used colour very effectively, some of which are illustrated above. I liked to hear that she sometimes uses chine colle to provide colour in her prints and also uses another plate or monoprint. These are all ideas that I intend to develop.

 Mandy's list of artists who inspire her are revealing. Some of the artists are the same as those I have already been interested in - such as George Shaw. Others, whose names I do not recognise, will give me further scope for research. 

Her hints and tips as to how to develop my practice, including the development of my own website, will help me, as will her comments on curation. I agree with her views on the experience of the viewer and aim to expose them to new insights/experiences.