Methods, processes, and materials

Unit 1 has been a really enjoyable period of introduction into the workshops; the majority of these skills being completely new to me. I have tried to embrace the techniques as much as possible in my work as shown in both the Resolved and Support sections. One of the main aspects I learnt was the possibility of combining and experimenting with each method. The support of the technicians was invaluable.

During Etching I experimented with both Hard and Soft ground and made prints in a number of colours; along with the application of acid. The use of very fine paper to transfer imagery was also something I enjoyed and enhanced the evocative nature of the subject matter. 

The chine colle was difficult to apply but something I will revisit in lithography. I have now purchased a pair of fine tweezers which will assist in their handling. The delicacy of texture is something I find quite beautiful.

During the Relief workshop and thereafter I experimented with both hand carving and the use of laser cutting which brought some good results. I also used the fade effect on an early piece.Using the blocks I printed onto various surfaces, including paper, card, metal, wood, plastic. During the 3 day project of manipulating an image (dealt with more fully in Events) I used this experimentation to good effect on red and orange plastics in particular. I was also introduced to Monoprint during this 3 day exercise and I worked on an X ray image whichI drew onto metal and then printed. 

Again during screen printing I used a number of different materials ranging from paper, card, fabric, wood and metal. Various colours were used and combined in a number of ways and the paint applied randomly in order to create a more textured nature to the prints. Some of these screen prints on newspaper were later used for collage, stuck onto metal, photographed and used to produce prints through the risograph method. I also used the digital process to produce a vivid blue coloured print (Bachgen glas/ Blue Boy) shown in the Resolved section which was glued onto a salvaged corrugated sheet.

At this stage I am still keen to continue with all techniques and will further research artists within my subject matter who have used such.

My research has recently taken me to “ Landscape and Western Art” by Malcolm Andrews (description provided in the Books section) and presently “The photograph as Contemporary Art” by Charlotte Cotton. The work of La Toya Ruby Frazier(1982) is one I found particularly relevant to my theme where her work “ articulates the bonds and strengths of characters within one family, while narrating a wider story of the impact and decline of the so called dirty industries upon entire communities and the lives and bodies that have laboured with them”. This being relevant to the decline of the steel industry in the so called American “Rust belt” of Pennsylvania. Other artists from Charlotte Cottons book of particular interest being Jeff Wall (1946), Deanna Lawson (1979), Sarah Jones (1959), and Vik Muniz (1961).

Over the Xmas period I have taken a number of photographs of the areas relevant to my theme in and around the South Wales area which will form the basis of my practice.

By allowing myself the opportunity of experimenting and combining methods and materials this has certainly developed my practice. Being introduced to other artists has also served as a catalyst in embracing the element of mistakes and non deliberate mark making. Research into the work of Richard Deacon and Andy Warhol has emphasised this. Whilst being mostly regarded as a sculptor, I found Deacon’s photography, lithographic and inkjet prints particularly compelling.

The work of Gerhard Richter has also been inspirational in his overpainting of photographs and also the series The Cage Paintings. These led me to consider the conditions of the colliery mine workers and the cage which used to transport them down to the coal surface. The images shown in the Support section and the wood cut is of a photograph taken of a group of miners as they are about to descend. The photograph was obtained from the National Museum of Wales and their recent exhibition “Streic” which focused on the Miners’ strike of 1984–85 which had a lasting effect on the South Wales valleys.

I have also enjoyed researching the artist Robert Rauschenberg whose collages and “Combine” style I much admire. I have developed this into my own practice by using salvaged metal from the South Wales area in particular and incorporating screen print, collage and digital imagery for the final piece. Both photo transfer and chine collection have been used to enhance the vibrancy element.

In Relief/Wood Cut I experimented with laser cut, chipboard and in then printing onto metal. The chipboard was particularly effective in showing the fragmented nature of the economy and the upheaval surrounding the disclosure of Port Talbot steelworks.

Prior to cutting some of the wood pieces I painted them using posca pens, acrylic and spray paint, along with discarded house paint. I did so in order to experiment with both overpainting/drawing and by enhancing the texture created a more interesting background. I also experimented with stencil cutting and fade.

I will continue to develop and combine both the processes and materials as the multi layering is particularly interesting. I have taken a number of photographs over a few weeks in late 2024 in the South Wales valleys and these will be the focus of overprinting, collage and digital presentation.

I have begun to work with a piece of metal in engraving which will have a heraldic theme. This has been painted and overpainted with acrylics, crayons, charcoal, covered in coal dust and also had nitric acid poured onto. A suitable image is being considered.