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…

 

 

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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

I’ve finally got round to photographing the Orchis prints (which make up the images in the Orchis books) on their own. Each print is 20 cm high and 91 cm long; on a webpage they tend to look like a smallish black squiggle. So I’ve added in close-ups in a section below each main image, which allows you to see more of the detailed carving and printing.

Orchis One

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Orchis Two

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Orchis Three

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Orchis Four

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Orchis Five

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Orchis Six

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Orchis Seven

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Orchis Eight

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Orchis Nine

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The prints are linocuts carved on three panels of Japanese vinyl, printed with black sakura ink on lambeth cartridge paper with a French American tool press, which has exerted enough pressure to stretch the print by 1-2 cm longer than the original blocks. Some prints (Orchis 1, 2, 3, 4, 8, 9) have been wiped and re-inked to achieve the different depth of greys. Some prints (not photographed here) have had a small bit of red colour pencil drawn on top to add highlights.

Orchis Four as a flat print has been accepted to the Society of Wood Engravers’ annual touring show, and will start off by being displayed in Bath.

79th Annual Exhibition of the Society of Wood Engravers, 44AD Art Gallery, 4 Abbey St, Bath BA1 1NN  44AD Gallery 11 Oct – 5 Nov. Private View: Saturday 15 October 2016, 2.30 – 5.30pm.  http://www.woodengravers.co.uk/79th-at-44ad-gallery-bath/

When the prints are folded into a book format they become a very different object: the long panorama is collapsed into a set of shapes that bring separate parts of the image close to each other. For me, books are portable, secretive and tactile. The images are read individually, rather than remaining in constant comparison.

A complete set of Orchis books will be displayed in the University of the West of England in Bristol in February 2017.

A complete set of Orchis books has also entered the collection of the British Museum (Nov 2016)

The Orchis prints were awarded the Atelier Presse Papier Prize, Trois Rivières, Canada in June 2017.

 

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

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dancing

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intertwined

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tumbling, blurring, merging

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colliding

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diagonal lines signifying cuts in time

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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!!!