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.

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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…!

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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!

CTP Eight to One

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…

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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I’m continuing to make prints that record some spare moments, absurd situations and interesting encounters. It’s like a slowed down version of the instant sharing of selfies with a sanitised/selective commentary on what its really like, over here, in my world. Since March I’ve made another half dozen or so, though some have been abandoned half way: ironically work or life got in the way…

This Granny Can is a print about the grandma I met in China who raises pigs, runs a small vegetable farm, makes home rolled tea, smokes ducks in the kitchen, and has hands hard as sun-bleached wood. She says she can’t read and has never been abroad, with a self-deprecating chuckle. I think of all the things she can do, how we are sitting in the same space, sharing the same tea, but that our lives are completely different.

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My last day in China, my friends Lan and Tang Wei took me to a pottery village in Changsha, where we spent a morning happily browsing ceramic goods, buying cheap shoes and enjoying the sun. The store at the end of the village sold practically everything, from kites to underwear to dried fruit, as well as having a small snack area where we ate chicken feet and drank barley tea on tiny chairs, watching the world go by.

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Since my favourite pool in London, London Fields’ Lido, has been shut all summer for renovations, I’ve been searching for an alternative place to swim. The heated Lido, 50 m long, surrounded by trees and tower blocks, with glittering water and the illusion of the Mediteranean, is hard to compete with. Of course, the Olympic pool in Stratford in a good contender: the air is heated with the crisp smell of a sauna, the water is like silk, and the magnificent Hadid roof makes you feel like you are in the belly of a whale. However, the “village-change” for mixed ages and sexes tests my prudishness each time. Why exactly did they feel they had to put up a sign that reads, ‘These hairdryers are solely to dry your hair. Please do not use to dry your body or other items.”? IS this normal?

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I have to say that York Hall is much smaller, closer and friendlier, and fairly beautiful on a sunny morning, when the light tracks through the water giving off the illusion of the outdoors. It has wooden benches and generous splashy showers that cycle between scalding and lukewarm. The funniest thing is that the main mirror in the changing room is a piece of stretched and polished metal, that shocks everyone who catches a glimpse of themselves. It’s like the reverse of vanity sizing, where people go shopping and buy clothes that tell them they are slim, smart and attractive. This mirror tells you are too far gone to even try.

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So imagine the joy that users felt when a new, normal mirror, with a bank of free hairdryers, popped up in recent months. Imagine the happiness of hanging out in the changing room and seeing your not-too-shabby reflection. She Doesn’t Care (If We Stare) is about that lady who loves to do her face and hair while naked at this new mirror. We all pretended not to, but we did all take a look. I couldn’t work out whether I thought it was empowering and celebratory, or if I thought this was a bit too much showing off…

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Meanwhile, at the vets, I’m always amazed at how people work so seamlessly together. I expected the art world would be creative by nature, but the vet world strikes me as more fluid, adaptable and kind. I admire the clear and honest communication, the humour, the teamwork,  the lack of ego. I particularly like that in the vet world, women speak, and are heard. Women do, and get results. Words have face value: no one second guesses your agenda because everyone has clear goals: the pursuit of truth; reduction of suffering; compassion. How these things are achieved requires plenty of lateral thinking and creativity…

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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

 

 

 

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.

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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

 

Orchis Seven is in the Royal Academy Summer show this year!

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This print is one of my favourites in the series. It shows a hyacinth, drawn from many angles, in front of three sleeping figures. The fleshy flowers revolve in space and time across the page. The prints are linocuts made with a single horizontal line. The resulting mesh of black and white creates a shimmering effect that both defines and blurs the image. Objects appear and disappear from view.

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Installation view

The nine Orchis prints were originally conceived as a series of nine books. Encased within modest book-cloth covers, each book contains one print, folded to fill the accordion pages and framed by gold leaf titles. The nature of the folded image means that non-adjacent parts of the image can be seen together, giving the work a more sculptural and temporal volume.

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Orchis Seven is bound in a pale lilac colour book cloth. A full set of nine books is in the collection of the British Museum.

The flat print is an edition of 30 hand-printed linocuts, printed with Sakura oil-based ink on Lambeth cartridge.

Royal Academy Summer Show, Piccadilly, London, 13 June – 20 August

https://www.royalacademy.org.uk/exhibition/summer-exhibition-2017