Shows


Last year, when I was on a residency in China, I made a series of fifty water-based woodblock prints (mokuhanga prints) which ended up becoming an animation called Smiley Rock.

Smiley Rock still frame

The technique of printing successive thin layers of watercolour is called bokashi and some of the frames for the animation were made from progressive stages of the printing process. I took photos of the print, while printing fresh layers of colour, so that you can see how the colour builds up. I edited the piece in the Royal Academy Schools in Piccadilly, London, and talented musician Eliot Kennedy made the music for me.

Smiley Rock frame being photographed for the animation

The animation is currently being shown in West Yorkshire Print Workshop, as part of their group show called Japan, until 1 September. Read about the show here or at https://www.wypw.org/blog/japan/

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Smiley Rock is also coming with me to the IMPACT conference in Santander, Spain next month… I’ll be showing the animation alongside some of the frames. Watch this space!

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You can watch the animation here or go to https://vimeo.com/237974015

 

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Oh! I’m so happy to be included in the Tokyo Mini Print Triennial!

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She Dreams of Flowers (2017) by Wuon-Gean Ho. Linocut, 15 x 20 cm

Have a look here to see the prizewinning works and here to see a list of the artists selected (yes, it’s loads of people, but I am still pleased to be in it!)

Tama Art University Museum

Date: (Sat.) Oct. 27, 2018 – (Sun.) Dec. 2, 2018

Open Hours:10:00 – 18:00 (last admission at 17:30)
Closed:Tuesdays
Admission free
1-33-1 Ochiai, Tama-city, Tokyo, Japan
Tel. +81-(0)42-357-1251
Access:7 minutes from Tama Center Station (Keio Sagamihara Line, Odakyu Tama Line, Tama-monorail)

I’m very tempted to go over and see the show, as they will have a full programme of printmaking events running alongside…

The Novosibirsk International Triennial of Contemporary Graphic Arts in Russia: Oh, What a fancy sounding show! I’ve seen some technical and graphic excellence from Russian and former Soviet Union artists, and imagine the show will be full of excellent work.

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I’ve been invited to take part by a curator of the digital section, Derek Besant.

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For those who know my work, it’s resolutely analogue, except I do make many of my prints into animations! So, the use of digital software qualifies me to take part.

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I’ve submitted Shadow Boy and Shadow Girl, as two sets of still frames (nine frames per panel) and the animation on a flash drive. Fingers crossed the film works over there!

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The Novosibirsk International Triennial of Contemporary Graphic Arts runs from 14 Sept to 4 Nov.

If you’d like to see the animation, it’s here:  https://vimeo.com/208883758

 

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She Dreams of Flowers

I’m very happy to be one of the 30 shortlisted artists for this printmaking prize in Belgium 2018 http://award.renecarcan.be/

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RA Schools, Lick the Moon

The works I submitted are selected from the diary prints: little linos that I’ve been making, more or less every 10-14 days, ever since I started the fellowship at the Royal Academy Schools in October 2016.

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Green block for This Granny Can

I set myself some rules: all the prints would be made from blocks which measure 15 x 20 cm, and that there would only be two of them.

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This Granny Can

If I wanted more colours, I could make blends of ink and print them on top of each other.

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Rainbow Room

In many of the prints, I used selective inking and wiping to achieve the effects that I wanted. So on the print above, the face and arms have only one coat of ink, whereas the rest of the block has been inked up four times.

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My ink!

Deciding which colours would work best has been a huge learning curve for me.

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Colour Trial Proofs for Made of Earth, We Are

Sometimes the colour trial proofing has resulted in more questions than answers!

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Colour trial proofs for Eight to One

Actually, I would have loved to submit all the prints, in one big panel, because this project has recorded what’s on my mind, as well as being a kind of postcard home: I made these to make my dad smile.

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Work displayed in Aberystwyth Printmakers

Sometimes they were a record of the absurdity of swimming pools

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Block for She Doesn’t Care

Sometimes I was poking fun at our obsession with phones and selfies, even when in the presence of amazing things, like the terracotta army

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Xian Selfie

However, although I’ve plastered the walls of the care home where is is staying, he doesn’t show me that they interest him in any way at all. They have more effect on my mum, who snorts with laughter whenever she sees the mirror print, and tells me to keep on going…

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Mirror Mirror

The show opens 15 Feb and runs til 15 May in the Bibliotheca Wittockiana– 23 rue de Bemel -B 1150 Brussels http://www.wittockiana.org Apparently this is a museum devoted to book arts and bookbinding. I’m looking forward to going along.

Work laid out for framing at ELP

If you would like to see all the prints in the show, you can visit the online site http://award.renecarcan.be/current_edition where you can also vote for your favourite work…

 

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Update! on 15th February, I went to the opening of the show!

After the excitement of going to Wrexham, and then Buckingham Palace, I hopped on a train to Brussels for the Rene Carcan Print show… But I was soooooooo tired!

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Hahaha! After Wrexham and the Palace, I was knackered…

The show was in the Bibliotheca Wittockiana, located in the far east of the city, a good twenty minute march from the nearest dark metro stop alongside a motorway…

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This haven of a library is a real treasure trove of old equipment, beautiful hand-bound books and reportedly the biggest collection of children’s rattles in the world.

Anna looking at rattles

It was a huge crowd of people, there to see the art, and eat some sumptuous food.

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Important question: why do we just have drinks at private views in the UK, when we could be having dumplings…?

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Isabel, Rory and Anna Brooke, my friends who came all the way from the UK to see the show

I was thrilled to see Elisabeth Matthieu, who had been so kind and welcoming during my stay in Canada, and who chaired the 10th Biennial d’Estampe de Trois Rivieres (BIECTR) last year, along with her friend Aline.

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Also, fellow Canadian Jo-Ann Lanneville was there, as another shortlisted artist, and Catherine Gillet, who makes beautiful engravings (if it were me, I would have given her the prize for sure)…

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My work was displayed in a cabinet which was quite sweet. Mirror mirror print was not there: guess they didn’t have enough space…

_MG_2155mg_2158.jpgI’m ashamed to say I got lost en-route, missed the prize ceremony, and didn’t figure out who were printmakers amongst the guests: after all there was a feast to be had!

_MG_2115I managed to say hello to two of the organisers. I think you can see the first mention prize here, a series of works called Clean, by Ann-Kristin Källström, behind Roger Dewint.

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I was thrilled to be there, and be joined by good friends.

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For more info on the show, which runs to 15 May, please see http://award.renecarcan.be/current_edition

In December, I was invited by Sabine Delahaut and Ozan Bilginer to take part in a show called Print/ Pressure, located in Ankara, the capital of Turkey.

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Photo by Sabine Delahaut

The premise of the show was that in Turkish language, the word for Print (Baski) is used to express concepts of coercion, oppression, discipline and restraint, as well as being the word for printing/ impression and pressure.

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Seeing as many cultures hide intimate depictions of the body, I thought it would be apt to show the Orchis book series.

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As I’ve written before in this blog, the word Orchis is the ancient Greek word for testicle, after which Orchid flowers were named, owing to the shape of their bulbs. In Old English too, the same parallel was made, and Orchid bulbs were called dogstones.

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The luxuriant feminine aspect of the Orchid flower, and the masculine shape of their roots makes the Orchid plant a metaphor for sexuality. The book format allows for a private viewing of what may be considered a socially taboo subject. The books are intended to be portable and discrete.

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However, this time round, the gallery chose to display eight of the nine books on shelves above and below each other, emphasising their sculptural qualities. The ninth book, Orchis Nine, is in the catalogue.

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In my statement for the catalogue, I compare the book to a body. Turning the pages stretches limbs and crushes and expands the timeline.

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The landscapes that result flow and merge from bodies into plants and flowers, jungle and folded fabric, between figures that are solid and those that seem to shimmer and disappear.

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I like to think that if the body is enclosed in the book, equating paper with skin, then skin smells of black ink.

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Other artists in the show were Atilla Atar, Beyza Boynudelik, Charlotte Massip, Engin Esen, Hasan Kiran, Heather Huston, Jean – Michel Uyttersprot, Ozan Bilginer, Sabine Delahaut and Oleg Denysenko.

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Atilla Atar

The gallery, Arte Sanat, made a really lovely publication with images from everyone, as well as a statement, the link is here

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Heather Huston

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Sabine Delahaut

The show runs until 20 Jan 2017 so there’s still time to view it.

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I was particularly intrigued the work by Ozan Bilginer which used thermochromic ink and heaters inserted behind the installation of prints: as the heaters raised the temperature of the print surface the black ink became transparent and the screenprinted scene below was revealed. This was interesting to observe, as well as to watch viewers captivated by images that were permanently in flux.

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Ozan Bilginer 

After the opening, we all went out to eat a hearty meal and drink Raki.

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Photo by Sabine Delahaut

The showing of the Orchis Library in Turkey had an additional coincidence, in that the Orchid root is commonly made into a winter drink called Salep (also popular in 18C Britain as an aphrodisiac) tying in with the notion of the Orchid plant being related to the body and its sensual functions.

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On my last afternoon there, the hotel ordered Salep for me to try. It was a creamy sweet comforting hot drink, but it didn’t have its required effect…

I didn’t fall in love with anyone on the way home…

 

 

I don’t tend to write that much about being a vet, but I did qualify almost 20 years ago and still work part time.

Double Caesar SundayI like the sense that in the hospital we are all part of a complex organism that is working towards one clear goal, to relieve animal suffering. Everything else is extra.

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Every now and then, it goes wrong: I got bitten a few weeks ago, and my finger still feels like it might fall off…

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At the end of the day, I have to remind myself that the first linocut I made was of a cat, and that cats are still complex, intriguing and inspiring animals.

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Having a degree makes me feel responsible for animals: the training comes with a duty of care…

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In June, I was awarded the Atelier Presse Papier Prize at the Biennial Internationale d’Estampe Contemporaine de Trois-Rivières (BIECTR 2017) for my Orchis print series. The prize was a solo show in their gallery, and a residency in the print studio for two weeks, so I packed my bags and flew out to Canada.

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Trois-Rivières is a small town which has been hosting this amazing print biennial for the past 20 years. As the town is so small, the print biennial takes over the museums, library, galleries, old train station and cafés, with a suggested walking tour of the whole show that takes up a good afternoon.

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Catherine Gillet (Honorable Mention), Sabine Delahaut (Grand Prize winner) and yours truly.

There was a grand opening and some satellite events in Montreal and the University of Quebec, so my residency started off very social, with lots of old and new friends in town. These included Annie Bissett, Kikie Crêvecoeur, Heather Huston and many more local artists such as Guy Langevin, Jo-Ann Lanneville, Frédérique Guichard and Valérie Guimond.

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I enjoyed getting to know the other artists better, particularly as one afternoon we went from gallery to gallery talking to each other about our work, both in terms of technique and ideas. Sabine Delahaut was the grand prize winner and I loved her print narrative and approach. Other artists who gave talks included Heather Huston, Valentin Capony, Catherine Gillet and Valerie Geard.

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When putting the works together for the show, I decided to gather them under the broad term Seventh Sense. I was thinking about how we know what it is like to touch and taste, see and hear. But what of the other senses in our repertoire, the ones that speak of how we place our body in space, or ones that determine how we hope, those that convey indescribable emotions? For me, these senses fall into the realm of the seventh sense and beyond.

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Packing a show for a mysterious space is hard, but in the end the work fit the gallery surprisingly well.

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On the two long  walls there were big screenprints made as a triptych and a diptych from the Dance series and Orchis series.

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In the alcove I put two photos about leaning and flight that were taken in China, exploring the boundary of real and unreal. In the window there were three artist books from the Orchis Book series.

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Finally, I showed my animation Shadow Boy and Shadow Girl, alongside an inkjet print of some of the frames of the animation that were scanned and printed life size.

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The works in the show used different techniques, but explored similar themes of dance, and transformation.

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During the residency, I found myself going for a walk and a swim every day, as Trois-Rivières has a very amazing outdoor unheated pool that dates from the 30s.

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Piscine et pataugeoire du parc de l’Exposition

The sky was continually cloudy, with flashes of sunshine and a lot of rain. I’m planning work for a new book about that experience, now that I am back home.

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I completed some prints from the Diary series which I had started in China, and looked at the clouds every day.

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The Print studio and gallery, Atelier Presse Papier, are located in an old wooden building that leans like a ship, rolling downhill towards the St Laurent River. It’s run by a cooperative of artist printmakers who are both colleagues and friends. On one of the last days of my residency they held a lunch for me, complete with home-cooked Quebecois beans with maple syrup and some nice red wine.

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Seventh Sense is on until 30 July 2017 at Atelier Presse Papier, 73, rue Saint-Antoine, Trois-Rivières, QC, G9A 2J2. Tel 819-373-1980. Email presse.papier.atelier@cgocable.ca

https://www.pressepapier.net/expo-wuongean-ho

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My work for BIECTR is in Musee Pierre Boucher in Trois-Rivières until 10 September

IMG_6399Also, one print is showing at Atelier-Galerie A. Piroir in Montreal until 5th August.

BIECTR runs until 10 September 2017. It’s full of amazing work. For more information, or to buy the catalogue, please see http://www.biectr.ca/ or contact info@biectr.ca

 

 

 

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