Over the last few weeks I have been working on a range of different artworks, in a somewhat disjointed way. I have had the (totally delightful) distraction of the unexpectedly early arrival of my first grandchild, a little girl called Lumi. She was tiny, but is thriving, clearly a determined individual! And now the lead-up to Christmas provides other distractions.
On one day last week I heard that I had made two sales, very different artworks in different places. One was a painting, sold through Bluethumb, an online gallery. I have had work there for about a year and a half and had previously sold two paintings to the same buyer, but that was all, so this was a nice surprise. The other sale was one of my miniature hand-made books which was in an end of year group show, this too was quite unexpected. Neither work is new, but I had faith in them both, so it is good to know people liked them! The painting is called ‘Enigma’ and is oil on board and the book is called ‘Sleeping Beauty in Short, a book in a box’.
Etching is a print medium I have always loved, but have done little of in recent years. It is time-consuming and heavy on equipment, so when a printmaker friend who is also a magnificent teacher said she was going to conduct two mentor workshops in using aluminium plates (as opposed to copper or zinc which I have used in the past) I seized the opportunity. We had a small group of wonderful artists, it was an enormously pleasurable experience and I was reminded of the scope within etching, and how much I enjoy it. There are a few fundamental differences with using aluminium – the acid for etching is very gentle, and easily accessible from any hardware store, and there is no need to go through the complexities of applying aquatint in order to create tones, as when areas of the aluminium are left exposed in the acid, it bites leaving a texture on the plate. The darkness of the tone can be controlled by how long the plate is left in the acid – it can be pulled out and blockout applied to the areas to be kept lighter. The downside is that it can be unpredictable, and it is more difficult to obtain the clear, fine lines that are possible on copper or zinc, but this unpredictability is what I am hoping to exploit when I make more plates next year. The first image below was comparatively controlled, the second one is the same size (10 x 15 cm) and was more experimental in the way I blocked out areas, then wiped off bits of the blockout in an almost random way.
Drawing into my monoprints is continuing – a never-ending source of surprise and pleasure! The image below is a small part (about 20 x 20 cm) of a larger piece, with a ghost mono print underneath, worked into with coloured pencils. I am now thinking of simply taking the elements that work from these larger pieces and treating them as small finished works. I haven’t come up with a title for this one, so any suggestions welcomed!
I am so grateful for the continuing support from the people who visit this blog, and who follow me on Instagram and Facebook. So many developments and new directions have come from the intelligent and thoughtful comments that you go to the trouble to make. I am constantly inspired by seeing the work of artists I follow too, so thank you, have a wonderful, peaceful Christmas, and looking forward to an inspired and productive New Year!