Victoria and Albert Museum Film

Oh! It’s been absolutely ages… Time flew and condensed and dragged and became a thing of wonder. I realise I’ve not posted anything at all for over a year! But I’m super happy to announce that the Victoria and Albert Museum have made a short film about my linocut and monoprint process, and it captures the dreamy mood of creativity very well.

Filmmaker Marissa Keating and cameraman Michael Jones spent a lovely morning in my house, filming me and interviewing me about my process.

They tiptoed around and drank my tea (Iron Goddess of Mercy, no less) and made me feel calm and at ease. Then we walked to the studio, East London Printmakers, to film more printing action using the big beautiful cast iron presses there.

The music was composed especially for the film by Steve Baker (www.stevebakermusic.com), who was inspired by my image of Cassiopeia (the girl looking up at the night sky), which I would love to make into an animation… one day… when I find a spare moment…!

I felt very privileged to watch music being composed, in real time, but I guess it’s a similar alchmical mystery that happens when images are created too.

Anyway, to watch the film, please visit https://www.youtube.com/watch?v=ltiskoXIK2I

 

Covid Tales

Whewwww I can’t believe it’s been ten whole months since I last wrote a blog post. Life has changed, the world is upside down, and I’m still making little linocuts to soothe the soul, inject humour in the day, and explain to myself what I think is going on.

The first few weeks of working alone, isolated in my flat in East London, were a mix of relief at stopping my commute, tinged with fear of the virus. I would spend hours looking at my phone, wading through pages of horror stories, like an unending river of disaster and dread. I couldn’t really do much but worry about my parents.

The tree outside the bathroom window became a wall of blossom and I would open the window really wide, and stare out into the breeze, and pray that everyone I know would stay healthy.

Likewise, the communal gardens were bursting into leaf, and it was just so nice to sit under the dappled shade, even though my thoughts were of death and destruction.

Sometimes I’d make myself extremely sad by wishing hard for a hug. Then I’d think, that as no-one had seen my face for days and days in real life, that perhaps I didn’t have a face anymore, and that I was in effect just a paper bag ghost.

My paper bag ghost would still be hungry. I’d think of my dream meal, inspired by mum’s mackerel with belly stuffed full of curry powder and onions, with blistered skin and sweet sticky rice. The sun was shining every day and I would set the table on the balcony and make myself a bowlful of raspberries with sweet vanilla ice cream.

Somedays I didn’t speak out loud all day, and my train of thought would start to crumble, as if my sense of identity, without a listening ear, was optional.

Somedays I would start drinking at 4pm to see if it made anything better. Somedays I tried video conferencing parties with friends. It didn’t really help…

There are undoubtable benefits to working from home. I can now attend zoom meetings while sitting on the floor of the bathroom, with no trousers on, if I want to.

I can go for a jog in the neighbourhood and terrify the locals by infringing on their two metre zone.

Facebook Live videos of exercise classes have become my favourite moment of the day. With all the isolation, inactivity, stress baking and comfort eating, my bottom is getting bigger, but at least it makes mum laugh.

Anyhow, this series is ongoing: I have many more prints that I would like to make. My tiny desk in the corner of the living room is a lot more than I would have had if I were living in rented accommodation in one room, as I did for the past 20 years. And the best thing about a handmade print (oh! actual ink on actual paper!) is that you can chop it down, scribble on the back, and post it to wonderful people, like an old-fashioned talisman.

PS.

I gave a talk on my print series a couple of weeks ago, and mentioned some of these prints towards the end. If you are interested, have a watch here (it’s 23 minutes long, and was a seminar hosted by the Centre for Fine Print Research, University of the West of England, Bristol.)

https://vimeo.com/413495704

 

 

 

 

 

Throne

 

Buckingham Palace is beautiful, golden, sparkling, opulent, baroque, rich. If it were a dish it would be molten duck egg yolks, velvety on the tongue… However, I was thinking how even though it’s filled with life-like marble statues, their ghostly pallor and illusion of softness might make one yearn for the reality of a living, breathing, messy, optimistic dog.

So I made this print, which is of my friend’s ornate chair in her living room, one that kind of resembles a throne, and her happy dog, Lily. It was a lovely experience to sit in such a grand chair, and have Lily leaning on my legs. In way she was half mascot, and half protector, fully present.

I sent one of these prints to The Queen to thank her for inviting me over. I hope she didn’t think I was being blasphemous…

 

From the heart

Around November 2014 I started to make this series of works about bodies

dancing

intertwined

tumbling, blurring, merging

colliding

diagonal lines signifying cuts in time

faces hidden in the forest.

My works are often stories told from the heart; I think the colour makes them more emotional. In the above prints I used colour blends and irregular shifts of the paper to make playful variations: each one is totally unique. They are screen prints 112 x 76 cm large, so each was the absolute limit of my arm span.

The studio is shut at the moment, so this is a strange time: thinking rather than making, reflecting rather than doing, planning over running. It’s probably good for me!!!

 

 

Back to colour

Colour pencil drawings have helped me to make colour prints again. I was keen to make new prints for a show in Southwark that opened this week, so, telling myself there was nothing to lose, I threw myself wholeheartedly into the process, like a (very) rusty jazz musician.

Layering colour is a bit like playing a visual version of jenga. At first you feel like you could put any colour, anywhere, but after a while the game gets dangerous, one layer too many and the whole thing comes crashing down… Some of these prints were just nasty, but it was interesting to see what the subconscious mind would produce so I kept on making… And some of the prints are completely unexpected and surprising and make me smile.

Mid hang chaos

It’s been an interesting journey making work with no idea of what the end outcome will be. My carving is generally about concept, narrative and structure, so bringing in colour makes the prints more about emotion. I’ve enjoyed the freedom of making monoprints, and throwing together all the colours in my box of inks. (Now thinking it could be good to get in some more blues and greens…)

For those who live in London, the show is up til the end of Sunday 6th Feb, at Café Gallery, Southwark Park, London, from 11-4.

 

Swallow Span

“Swallow Span” is a long narrative book made of 20 linocut monoprints arranged as a concertina, within a book cover that measures 180 cm when fully open. To turn the pages the viewer has to use the full sweep of their arm span, echoing the title of the book.

The story is about a girl’s dream. From her sleeping figure spills a strange nighttime sequence, where birds inhabit indoor spaces, and shadowy figures float and meet each other in a dark garden. The perspective lurches and tilts matching a bird’s swooping gaze. The imagery and storyline in the book becomes folded into pages, and we realise that it is a book within a book, with the creative process including ink, notes and sketches depicted at the end.