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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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

 

Most years for Valentine’s I hide away in the studio and make pictures, but this year was different. I was invited to give a talk at Wrexham’s Regional Print Centre at Coleg Cambria, as part of their Print Symposium, and seeing as it was Valentine’s Day I thought I would theme the talk around Love.

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It is a theme that I have been preoccupied by for many years: prints can be, after all, a token of affection, especially when each is handmade with love. I have explored making prints about love and connection with animals (Spirit and Guardian); sensual love (the Orchis Series); things I love and that make me laugh (Little Linocut Series); and fantastical love stories (Lansu Garden Series, China Love Series), with birds (Swallow Span) and beasts (Devour) that jump straight out from my imagination.

Talking about caesareans

Talking about caesareans. Photograph by Wiktoria Przekora

My current series of works (the little linocuts) has been all about a kind of loving conversation with my dad (without that sounding too weird, I just want to cheer him up with something more concrete that lasts longer than the short time we have together)…

Talking about the Olympic pool

The Olympic Pool and its ridiculous hairdryer situation… Photograph by Wiktoria Przekora

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Clockwise from left, Vasile, me, Tony, Mum and Dad

WG talking about her linocut process

Showing my linocut process: I draw directly on the block. Photograph by Wiktoria Przekora

Anyway there are 35 of these prints now, and I showed my working process (I draw directly on the block) as well as bringing all the BAT (bon a tirer) proofs to Wrexham to show the delegates at the conference after my talk,. These BAT proofs are covered with notes and colour swatches and printing instructions.

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I made a special Valentine’s print for sale at the conference, as well as a New Year Card for the Year of the Dog, and enjoyed meeting the other presenters and chatting with the delegates.

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Despite all the excitement of being with a group of printmakers (surely the friendliest bunch, ever), I had to leave early…

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I had an evening reception to attend at Buckingham Palace! I’m not sure how the invitation came my way, or who nominated me, but I was really happy to be invited as an artist, not as a vet.

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After the invitation came, I started to feel completely unworthy of a royal visit. In my life there are many chaotic elements, strivings, failures and disappointments: all my possessions crammed into one room

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living in a wild and ugly part of town,

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a patchwork of jobs and commitments,

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long neglected friendships, a fridge that needs cleaning, a bike that needs new parts, a diary with scrambled deadlines, a pile of prints that threatens to collapse on top of me. I didn’t feel glamorous enough, or successful enough to be asked along.

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After some excruciating trips to fancy shops that I would normally never go to (what’s the point of an outfit where you can’t move your arms?) my dear sister Feng Ho, an ethical fashion designer, stepped in and offered one of her bespoke jackets for the occasion, and ethical handbag designer Embellished Truth lent me the statement bag.

Wuon-Gean Ho wearing jacket by Feng Ho and carrying Embellished Truth handbag

Image by British Ceremonial Arts, copyright The Crown.

You aren’t allowed to take photos or record anything when you are in the Palace, so I wrote the description below for my instagram page the following day, when everything was sparkling and fresh in my mind…

***

The Palace is a bit like stepping inside a lavish cake. A red carpet takes you up three flights to a domed lobby, a perfectly white and gold studded ceiling. Prince Albert, looking young, in marble, stands in an alcove, and I’m sure there’s another statue of Albert facing himself, in a weird parallel world. A marble girl plays with a dog, her hand buried in its fur. Heavy sparkling chandeliers glitter. The ceiling is far away, the carpet so so soft.

Every surface is embellished with gilded twisted vines, intricate repeated oak leaves and acorns, goat hooves, naked women clutching their breasts, lions feet on every chair and lions heads on the armrests. There are crests and shields, fleur de lys and red pentagonal roses, Corinthian columns and swirling mirror surrounds. Ming vases, rosewood inlays, opal cabuchons, a pair of pink thrones, embroidered ER on the left, and P on the right.
In the picture gallery, Rembrandt, Vermeer(the light! The shades of blue!), Frans Hals, van Eyck, Rubens, there, on the wall. I spent a while gazing entranced at the Rembrandt portrait of Agatha Bas. Her creamy skin glows in the light, and her hand posed casually on the picture frame makes you think she is just there, beyond the archway.

Carved wooden vines sprout from doorways and birds nestle on swagged foliage on the walls. A pair of mirrors reflect you into a blue limpid infinity. Marble girls posed casually, resting an elbow on either side of the fireplace, hold yet more abundant grape vines. I tried the sofa out for comfort, it was padded with fraying satin, the silky fabric split by regal weight.

The Queen is so pretty she has a soft sparkling air and smiles at everyone, calmly greeting everyone individually. They read out your name from the pink card so she knows who you are. She gave me her gloved hand and I didn’t kiss it but shook it awkwardly with a half curtsey but didn’t fall over, hurrah (oops clumsy me)…

***

Sheika bag by Embellished Truth

When things have settled down, perhaps some of these things will emerge in new work, who knows. In the meantime, I’ve cleaned the fridge, repaired the doors, done some laundry, and started to tidy up some of the piles of paper… just in case she ever wants to visit me in return…!

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

 

 

 

I thought it would be funny to make very purely digital images in Japanese woodblock technique. 01_smileyrock_drawingdesigns.JPGThe contrast in time couldn’t be greater

02_smileyrock_planningblocks.jpg one tap of a button for the computer

03_smileyrock_carvingwood.JPGtranslated to a long time to carve some wood

04_smileyrock_woodblocks.JPG then get paper dampened, 06_smileyrock_soakingpaper.JPGthen patient printing by hand, 08_smileyrock_paint_palettes.JPGinvolving a gradual building up of colour over a few hours to days…

10_smileyrock_prints.JPGSmiley Rock 1

It was entertaining, and laborious, and then just a little bit overwhelming.

Smiley Rock 2

After a while I wanted to record the actual process rather than the final images

and then I started to worry about why I was trying to make perfectly registered images each time, when really the process of making the prints would naturally generate interesting frames.
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Smiley Rock 3

So the eyeballs swivel around and then bounce out of the head, and I made some dark lashes and a kind of fluttery blink…

Smiley Rock deconstructed

All in all I made 51 prints, but there are many more photos as they also record the build up of colour on each piece of paper.

Smiley Rock on the bedIt’s still very rough round the edges. I’m working on a new version with musician Eliot Kennedy, who has made a really upbeat and jolly tune!

Check out the vimeo file here

OR if the link isn’t working you can type in https://vimeo.com/237974015

 

Finally finished my animation Shadow Boy and Shadow Girl

You can click on the link to view it here :  https://vimeo.com/208883758

This work has taken me a while to complete, as I started this series of prints two summers ago when visiting Crow’s Shadow Press in the USA.

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Crows’s Shadow Press is located on a Native American reservation in the eastern high desert of Oregon. This print studio is surrounded by rolling grassland and huge clouds. Distant views of the mountains are filtered a luminous blue with the atmosphere.

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The area feels ancient. In front of the studio there is a small graveyard: a scattering of graves on a grassy plot, complete with plastic flowers, windmills, flags and clothing, all in homage and reverence.

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If you were to sit there for a while, you would only hear the fluttering of flags, the crisp rustle of insects in the dry grass, and perhaps the gentle creak of your own muscles and breath.

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I started to imagine what it would be like to become and then not become again in this place. I started to make a series of prints of a boy and a girl, dressed in clothing from the 1850s, during the time when formal traditional clothing was being abandoned for western styles.

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In the animation, the boy and girl emerge from the darkness, defined and described by a sequence of white lines. Gradually they change shape and expression, they appear to get older, more serious, lighter and brighter, until eventually they are carved away completely.

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The images are from two reduction linocuts which I carved and printed in sequence, using only one type of mark: a carved horizontal line. I made 14 prints of each image, one set of prints for the boy and one for the girl. Then I created thousands of in-between frames in photoshop by deleting the frame in front to reveal the frame behind and saving it as a new image.

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It was difficult to continue to carve away at the figures until almost nothing was left, as it felt like destroying the individuals themselves. I learnt a lot with how much can be said with very minimal lines.

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In some respects, the progressive carving and whitening of the block could be read as a loose metaphor for the whitening of indigenous populations, as well as a reflection on blurring of the past…

Here it is again https://vimeo.com/208883758

I’m happy to say that the work will be displayed in China next week.

I have taken a selection of 160 frames at life size (each frame is 15 x 20 cm, and there are 80 frames from each sequence) and placed them side by side to show the working process. The inkjet prints of these frames are a rich and velvety black. As the prints do not exist any longer, because the blocks were entirely carved away, it is nice to bring the prints back to life again. The animation and the inkjet prints will be displayed alongside each other in Changsha Normal University in Hunan province, China, during April 2017.

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Pictures of the installation to follow!

crow boy7-8_076The animation I was working on is finished! I put the sound track of carving wood onto the background. crow boy9-10_020

I changed the name of the animation to Shadow Boy as the work was started at Crow’s Shadow Press in eastern Oregon, and also because the boy is probably not native Crow.

crow boy10-11_002I learned a lot about how I work, as the animation involved hours of forensic reconstruction of my carving technique.

Here it is: vimeo.com/164877854

 

Shadow Boy animation will be shown in the brand new gallery space in the architectural-award winning Leicester Print workshop, alongside all the 10 linocut printed pages from the book, Swallow Span. The show is titled Light Line, and is a two person show with artist Angela Harding.

I chose the title Light Line as a description of what it is like to carve lino, as I was aware that Angela also works in this medium. Linocuts involve carving channels into lino to leave a light, or white line. We both work from dark to light, and use similar tools and materials. The phrase Light Line is a sort of pun on the phrase, Life Line, which for me is a comment on the act of creativity and expression, as well as in the more literal sense of the strong narrative elements of both of our work…

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Brush drawing for the dog who speaks Crow

I will be in Leicester giving a talk on my work on Thursday 14 July at 6.30 pm (doors open at 6pm, entry £5). All welcome!

50 St. George Street, Leicester, LE1 1QG. http://www.leicesterprintworkshop.com/

Light Line: Angela Harding and Wuon-Gean Ho

3 May – 31 July

(PS. Sometimes links don’t work, so here is the vimeo address on its own: vimeo.com/164877854 )