I thought it would be funny to make very purely digital images in Japanese woodblock technique. The contrast in time couldn’t be greater: one tap of a button for the computer, translated to a long time to carve some wood, then get paper dampened, then patient printing by hand, involving a gradual building up of colour over a few hours to days…

Smiley 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.

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, but if you’d like to see the first trial animation, here it is:

https://vimeo.com/221670482

The sound is work in progress as well. More refined version coming soon…!

 

 

Sometimes it’s interesting to take photos of the physical world that we cannot see.

changsha lean 2

My scarf is my collaborator: together we try to defy gravity.

changsha lean 1

The red earth, scorched yet still wet, is a piece of land in Changsha Normal University, cleared for a playing field. I spent one month there in April teaching Japanese woodblock  printmaking and giving talks in various venues.

changsha jump 1

I like the small shadows from the overhead sun after days of torrential rain and misty gloom. Photos freeze time.

Meanwhile in the UK, just the act of leaning in the forest is like that thought experiment: If a tree falls in the forest and no-one hears it, did it make a sound?

grizedale lean

If I lean on the air, and no one sees it, did it happen?

Ahhhh, but of course! I am seen! Here is the proof online!

FOLD> is a portfolio of prints that I curated for the IMPACT 9 printmaking conference in Hangzhou, China, 22-26 September (starts tomorrow!) As I can’t make it, I’ve posted the portfolio to the organisers to display on my behalf. The conference questions the meaning and relevance of print in the digital age, so I thought the aspects of print that are not adequately conveyed in digital format are the tactile and the physical. The portfolio focusses on surface alterations and folds.

“Radiant Intervals,” Screen print, 40cm x 30cm (15.75 x 11.8”), Stephanie Beisel, 2015

Radiant Intervals by Stephanie Beisel, screenprint

The word fold also has multiple interesting connotations referring to creases in cloth, in paper, in time, to movements of wings, the body, the land, and a secondary meaning of groups of animals or people. The addition of a fold to a sheet of paper has the effect of creating a folio, and creates space and orientation. The portfolio consists of prints that each have at least one fold, with final dimensions of an A4 piece of paper (21 x 29 cm). There were no restrictions on medium, size of image, size of paper, shape of paper, substrate, style, whether text, collage, hand coloured, glow in the dark, embossed, perforated, nor printmaking technique used. There were some interesting approaches, and I’m pleased with the final outcome. Here are some pictures below.

FOLD_IMG_5660_gazinotti_e

Untitled, by Mayra Gazinotti, screenprint

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Untitled, by Mayra Gazinotti, screenprint

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1:00:47 by Ronit Mirsky, screenprint

FOLD_IMG_5656_susannah_e

After the Flood, by Susannah Stark, Sceenprint and digital collage

FOLD_IMG_5657_meiyi_e

Untitled, by Meiyi Wang, Linocut

FOLD_IMG_5636_cornfield_e

White Face, White impressions by Amy Cornfield, face print and screenprint

FOLD_IMG_5635_cornfield_e

FOLD_IMG_5632_rahaim_e

Canyon and Cave, by Meg Rahaim, Digital Inkjet print

FOLD_IMG_5640_ceballos_e

Moss by Gloria Ceballos, Screenprint

FOLD_IMG_5629_joana_e

FOLD_IMG_5646_miles_e Roberto’s, by Rob Miles, linocut

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Roberto’s, by Rob Miles, linocut

Las Brujas by Eden Barrena Gonzales, Lithograph on two sheets for FOLD portfolio

Las Brujas by Edén Barrena Gonzales, Lithograph

A huge thank you to the participants, and apologies to the ones whose work I did not photograph. This portfolio may be run again in the future, so please get in touch if you are interested in FOLD2> for the next impact conference in Lisbon in 2017!

hold (2015) by Wuon-Gean Ho, for Fold Portfolio, at Impact 9, Hangzhou

Hold, by Wuon-Gean Ho, linocut

FOLD_IMG_5652_wuongean_e

PS. Life zooms by and the world continues to shrink. I made work in the USA this summer, and am in shows in London, Japan and China in the next couple of months, but of course I haven’t got round to posting anything at all! Just to say that I do have work in the National Original Print Exhibition in the Bankside Gallery, 48 Hopton Street (next to the Tate Modern) in London from now until 27th September. These are the prints that are there: two of my newish monoprint screenprints measuring 112 x 76 cm.

dance_7748_e_nope

dance_7752_wgho_nope