Lockdown week 48

Through the nets

Great Spotted woodpecker, through the curtain.
Great Spotted Woodpecker 2017

Nothing to see, just listen to the sounds of the morning woodpecker.

Perhaps the same bird that visited in 2017 is back to wake us. Or a new younger one is passing by and spied the coconut.

Print and Tools Tests

Continuing the visualisation of 2021 tool equivalents to Jim Dine’s inspirational prints of 1950’s hand tools is throwing up a variety of options. The digital images are offering a stark contrasts with the photographic images of the hard disc metal containers and leads. https://printsanew.jonnieturpie.com/21st-century-tools

Five Removable Hard discs. 2007-2020. digital drawing.

These will be inkjet printed on plain and textured paper surfaces. With access to the School of Art print room and the assistance of master printmaker Justin Sanders the trial of an etched image of the most modern disc (LaCie 2TB) has delivered comparison of hand made image and backgrounds with the digital images. Each image is drawn on tissue paper and transferred on to the soft and hard ground plates with no digital or photographic elements. Additionally the etching process into copper plate, printed on selected paper and hand inked, is fully manual. The inclusion of the irregular connection leads locates the rectangular discs on the square plate and subsequent squared image on the rectangular paper. A clean background for the linear drawing works well in giving the modern disc/tool a status akin to the Jim Dine prints of hand tools.

LaCie Tools. Two plate etching.

Following first proofs from soft and hard ground plates, drawing into the hard ground was undertaken using burin and roulette tools. A second hard ground etch was applied. A two plate print was taken with the hard ground printed on top of soft ground, providing a hint of shadow to the hard ink lines. Finally a series of prints have been made to assess the effects of varied backgrounds and highlighted areas. The backgrounds were achieved by leaving some ink on the plates beyond the etched grooves, ie not fully wiping the surface clear of ink using the ‘Surface Tone’ technique. Background textures were also left in the ink as the pattern of the scrim was embedded. Highlights were created by cleaning selected ares with a hand made cue tips. ie not cotton wool sticks, but soft paper rolled into a point and bound with masking tape.

8 test hard and soft ground etchings of LaCie removable hard disc

Keatleys metals weighing.

Next an experiment with another disc image will be undertaken through the aquatinting etching process on new 300x350mm copper plates purchased from the Birmingham Metal Suppliers Keatley’s where cost is calculated by weight. Another analogue contrast with the digital tools to be represented.

The silkscreen surface test that was made prior to lockdown by printing transparent screen ink medium has reclined in a print room plan chest drawer for four months, but sadly has not dried sufficiently to be drawn upon. An additional two days in the drier has not hardened the medium. As the surface texture/pattern is of interest an alternative to drawing may be to lightly drop carbon dust from some height to maintain the texture, but provide sufficient small barriers to screen exposure which may deliver a unique surface to be printed from and be assessed as a serigraphy portrait background. Equally the dust might dry the medium surface to a degree that drawing materials may be held.

Results reviewed as the week progresses.

Chance Meeting

My second excursion to the City Centre and the School of Art was diverted by an unexpected meeting with a visitor to the city as she photographed the statue of Queen Victoria in the square that is named after her. She asked if I would take picture of her in front of the statue and the classical architecture of the Town hall. I pointed out the Museum and Art Gallery and that I was on the way to the School of Art which she was immediately interested in seeing. I introduced her to its magnificence, before encouraging her to see the newly opened centenary square.

Tusti. Digital drawing. 2021.

I have shared a drawing of her which celebrates the event that was the first time I have met by chance and engaged with a new person in 11 months. We swopped insta names and it occurred to me that I had put all sense of being in covid to one side, apart from our masks, and engaged as a resident sharing the sights of the city in non restricted times. On reflection it was a liberating experience indicating what we have been missing and look forward to returning to.

Lest we forget

September 17th 2020. Digbeth, Birmingham UK

covid update

Thats it

Lockdown week 47

City Centre. Bright, but empty.

Birmingham Buildings from the Christadelpian Hall, Suffolk street Queensway.

Print and Tools

Continuing with Jim Dine’s inspirational prints of 1950’s hand tools to visualise 2000-21 tool equivalents by experimenting with sketches of the small metal removable hard disk boxes. Sketches made using photographs of hard disc containers are transferred to the Procreate app on an iPad to add complimentary ‘hand drawn’ textures made with the electronic Apple Pencil and selected brushes. The image and marks provide varied and effective juxtapositions.

Five Removable Hard discs. 2007-2020. digital drawing.

With access to the School of Art print room possible, there is potential to create physical printed images in direct opposition to the electronic, digital, computational imaging of the iPad series. Dine’s tools drawings are in the main lithographs and my expertise is in serigraphy, however in going as far as possible toward tactile manual imaging etching on copper plate may be just that. With the assistance of master printmaker Justin Sanders a piece of copper, from previous mezzotint experiments, was cut in two equal pieces of 10″ before being polished ready for soft and hard grounds.

Results reviewed as the week progresses.

20:20 Prints

While in the print room boxes of 20:20 prints arrived from Hot Bed press in Manchester. An annual submission of 20cmx20cm prints in editions of 25 has reached over 10,000 this year and 133,000 since the project began. This year Moscow print workshop contributed. www.2020printexchange.com

Video Live Engagement

Amy Drury. portrait painting of Cordelia Oliver.

A fully engaged two hour live portraiture stream : ‘My week of painting women artists concluded with my painting of Cornelia Parker, live for Tate instagram. I was asked to do this special event as the Tate saw my post for Portrait Artist of the Week – Nicola Coughlan – and then my series of portraits I have been doing of my female friends on our lockdown walks this winter. They thought It would be a good fit for their online International Womens Day event.’

https://amydury.myportfolio.com/

history

Richard Saltoun Gallery’s year-long programme On Hannah Arendt: Eight Proposals for Exhibition looks to one of the most important thinkers of the post-war generation to confront some of the most pressing socio-political issues of our time. 

Running from January until December 2021, the programme consists of eight exhibitions organized around the eight essays in Arendt’s 1969 publication Between Past and Future: Eight Exercises in Political Thought and features more than 20 international artists from diverse backgrounds working across a range of media, many from outside the gallery’s roster. The following video is from Peter Kennard and includes his most recent work comprising hands and Stock market figures, that resonate in the covid year they comment upon.

Virtual Tour | Peter KENNARD ‘On Hannah Arendt: The Concept of History’ from Richard Saltoun on Vimeo.

Lest we forget

September 17th 2020. Digbeth, Birmingham UK

covid update

John Hopkins University

https://coronavirus.jhu.edu/map.html

Thats it

Lockdown week 46

Spring is trying intermittently

Printgang

I dropped in late Friday afternoon to the School of Art online Teams Printgang, but when I arrived it was quiet, quiet, quiet. Everybody’s heads were down focussed on the work before them.  I did not want to interrupt their concentration and left the meeting and emailed one of the participants.  She answered my query, but encouraged me to return to the printgang, which I did and recognised that master printmaker J Sanders was not at home, but in the school of art printroom. This is a major development and confirmed that students of art can book a working space with a technician at hand to work in socially distanced safety.  

I spent an hour or so with the gang as we caught up on our isolation experiences with much warmth and shared laughter at our ongoing situations.  I had not been aware of the possible printroom bookings and was at first excited to take up the opportunity, but realised I have sunk into a lockdown state of mind where: ‘its home or the studio; reading, writing research or digital making and communications’.  It had not occurred to me recently, that I might return to the tactile creativity of the silkscreen press.  My mindset is not there at the moment as lockdown is still in psychological as well as governmental place, even though there are moves to relax the restrictions. The knowledge that it may be possible to venture into the city centre raises the pulse rate, but tinged with doubts about making the break from lockdown, while the virus is still circulating. Rather than consider going through the covid test regime of entering the university, one of the printagang is taking up a ticket home to see their family in Bulgaria to spend the summer with them, and make her artwork in less restricted surroundings. We talked about the potential for physical exhibition of our work that has been shared over the last 10 months, culminating in the online printmaking book submitted to the IMPACT 11 conference. We will look forward to attending the international online conference out of Hong Kong Printshop. Fingers crossed the constitutional changes in the province are not oppressing the arts to make this impossible.

Video conferencing engagement

Earlier in the week there was a two-hour online session for BCU MA Art students on the role of ethics in contemporary arts.  I had prepared a paper, and printed it out as per a regular presentation in front of an audience. I had provided a small number of images on links to be viewed by students before the lecture. With over 30 participants following an in-depth lecture on the fundamentals of philosophy and ethics by Dr Catherine Baker, and an interactive response through online ‘padlets’ in 5 groups, I tried to introduce my lecture in a relaxed manner.  However, as I began on my own, looking at a computer screen with no audience eye contact, a sense of disconnection overtook me and I hesitated, but there was nothing to do, but read on into the void. 

Stork

Following a link from previous BCU MA sessions I opened: Heba Y. Amin’s current exhibition: When I see the future, I close my eyes and Heba Y. Amin and Anthony Downey’s launch of their new book ‘The General’s Stork’ (Sternberg Press, 2020). Amin’s project which is now on display as part of her new exhibition is on at The Mosaic Rooms.

Heba Y. Amin and General’s Stork (2020)

As well as the show and an illuminating presentation by ‘Heba Y Amin on Birds > aircraft > drones there is a link to a wide ranging interview with Anthony Downey that develops her perspectives and views on ‘Techno aesthetics, drone gaze and algorithmic determination’. She  states that culture is a space for debate that mainstream media or academic literature omits. Some subjects may be impenetrable, but art and artists can open them to question through engaging and performative artwork. (44 mins in). She notes that images can be intriguing and assertive: as is her photographic image of the General’s Stork, where the stork is defined in black and white from the pink surrounds. ‘The intriguing image encourages the viewer to be pulled in and to ask questions. We’ve become so accustomed to media narratives and numb to questioning in ways that are really meaningful.’ 

Print and Tools

Continuing with Jim Dine’s prints of hand tools and the inspiration to visualise the 2000-21 tool equivalents, I am experimenting with sketches of the small metal removable hard disk boxes. Sketches are made using photographs of 5 hard disc containers and transferring to the Procreate app on an iPad to add hand digital drawing. Two achieve this aim I have been learning Procreate selection skills to isolate backgrounds which can be filled with the hand drawn marks, in contrast to the hi-tech data storing boxes and their dark thick twisting cables. Once the technicalities are mastered the juxtaposition of image and marks can be assessed. The hope being that the contrasting contemporary concept I am pursuing will be effective visually.

Lest we forget

September 17th. Digbeth, Birmingham UK

covid update

21 million UK Vaccines given

Thats it

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