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. 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…

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

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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…!

 

 

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

Back in January I was asked to give a demo of Japanese Woodblock printing at the British museum for the Hokusai show, “Beyond the Great Wave” (which celebrates the artist in the last three decades of his life). Hokusai Prep 7It was a great excuse to spend a lot of time poring over Hokusai’s huge output. I began to admire his unerring brushstroke, and radical, often humorous compositions. Hokusai Prep 8

I’d promised to make a Hokusai-inspired work for the demo, but how I could even start to make a comparable rendition of modern day London? I thought briefly about depicting Whitechapel with cycle couriers: let’s face it, this is probably the closest equivalent to the Tokkaido, or a distant view of St Paul’s in the rain instead of Mount Fuji. Hmmm… I was stuck.

Hokusai Prep 11So I decided I’d look closer at the place where he is now being shown, the British Museum. This place is a veritable temple to the arts, with ionic columns lining the walkway up to the main central hall, and the most beautiful shimmering glass dome that brings a soft brightness to the courtyard inside.

Hokusai Prep 12We look at iconic images, like Monet’s Haystacks, Chagall’s Flying Lovers and Hokusai’s Wave, and the world is subsequently and irretrievably coloured by having seen them. These images are unforgettable, inspiring, desired and thus overused and parodied. At the same time, we like to place ourselves in the picture. Is it selfiegenic? Where do I exist in relation to this?

Hokusai Prep 6The prints I designed are about Hokusai becoming part of my identity: I can hide behind him, and he represents some of what I aspire to be (not caring about much apart from making paintings every day, with a factory of workers transforming them to prints, and hoping to live to 110…)

Hokusai Prep 3Hokusai Prep 4Hokusai Prep 5The demo on 5th June was a very exciting event. We set up in a hall full of of Greek marble sculptures, surrounded by sinuous sea lions and against a backdrop of three headless female dancers in revealing dresses.

Hokusai 01It was really echoey and a bit dark, so they put in some spotlights.

Hokusai 1I was incredibly lucky that my students from the last Japanese woodblock class (in East London Printmakers in May) were very keen to come help out for the evening, as there were loads of customers!

Hokusai 3I talked about the fundamentals of Japanese woodblock printing, showed how to print a three colour print, and then the public had a go at printing a mystery five colour print. Hokusai 2There was one colour and block per table and they had to take a piece of damp paper and print it, then move around the room. Students helped supervise and guide how much water, glue and ink to put on the blocks. Hokusai 4It was busy and chaotic but thrilling to see the results.

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The British Museum show is highly recommended. It’s on til 13 Aug, with a change over of prints in early July (3–6). For more information please see

http://www.britishmuseum.org/whats_on/exhibitions/hokusai.aspx

I’m running a course in Japanese woodblock printing in East London Printmakers this Autumn, For more information please see https://www.eastlondonprintmakers.co.uk/course/japanese-woodblock-2/

Hokusai Prep 13Finally, if you’d like to buy one of the prints, please get in touch!

HKK, a gourmet Chinese restaurant based in East London, contacted me late last year to see if I would make them eight huge prints for their Chinese New Year celebrations. As I love a challenge, I said yes.

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The storyline was about an Emperor who threw a birthday feast: here he is writing his invitations.

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The ingredients for the feast were gathered from far and wide: here they are aiming at the hawk in the sky, while people (and an enormous chicken) look for fish in the river.

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Chefs created new and beautiful dishes from the fruits of the land and sea.

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The banquet hall was decorated with splendid finery: I imagined these strange silver flagons shaped like rooster heads.

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The emperor arrived to the feast carried on a palanquin by four women (why not?) over a lavish staircase, inspired by the one that goes up to the Hall of Supreme Harmony in the Forbidden City.

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The Emperor was offered wine from a jade goblet (modelled with oak leaves taken from the design on a Dutch lamppost from Amsterdam) with gold dragons as handles.

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He joined his family and guests for a toast to health, happiness, abundance, peace and prosperity. The VIPs wore pearl necklaces and women had fresh flowers in their hair.

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After the meal, they were entertained by acrobats and ribbon dancers, harp players and singers, roosters and jugglers.

img_7391These prints were designed in four days and carved in japanese vinyl (gomuban) over 11 days: a record time for me. I made use of the Royal Academy Schools’ library where I found lots of books on Qing dynasty clothing and customs, and admired paintings of ancient landscapes, throne-rooms and interiors. I was buoyed along at this crazy pace by adrenaline and the looming Christmas deadline for approval of the images.

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Once approved, I scanned them and enlarged them to 133 x 76 cm each, and started phase two of the project: screenprinting them onto delicate shoji paper to hang in the restaurant interior. Luckily my studio, East London Printmakers, was quiet over the Christmas break, so I had enough space to work…!

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This stack of paper took over 100 hours to print… done in only 6 days.

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Finally some of the work was picked out with gold leaf. It’s not that obvious on a backlit image, but the gold shimmers in the light.

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Here are some installation shots of the work in the restaurant HKK Shoreditch, London.


The work is up until 4 March (extended an extra three weeks!) 2017. Let me know if you go along!

http://hkklondon.com/ 88 Worship Street, Broadgate Quarter, London EC2A 2BE

http://www.eastlondonprintmakers.co.uk 42 Copperfield Road, London E3 4RR

Normally I don’t write about the studio where I make most of my work, but I should. It’s been my favourite place to retreat to and ponder on life, and allows my prints to develop and grow of their own accord. This year I have had the privilege to be the chair of this organisation, East London Printmakers, which is a group of around 200 artists (and 40 keyholders) who all love making prints. The studio has been based in Hackney for over 14 years, a grimy part of London (remember those riots in 2011? they happened outside our front door) until it became a hip, bespoke playground for the rich and bored. And inevitably, the rents shot up and we were forced to think about moving, or folding. So we moved.

elp-studio-warmer_eeeMoving house is like throwing everything up in the air and then trying to relax when you can’t find it any more because it landed somewhere unexpected. Anyway we’ve done it. Thousands, literally thousands of hours of plotting, planning, constructing, sanding, polishing, painting, packing, moving, organising happened. Mainly all of it was done by members and studio keyholders for free… Of course the presses were moved professionally by the very excellent Giles of AMR and Mike Kirby of Linecasting Machinery, and new walls and floor and heating and lighting had to be installed as well… And the new landlords, Acme studios, have been incredibly welcoming: contributing practically and financially to helping us move in.

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East London Printmakers is now based in a beautiful studio (42 Copperfield Road) sandwiched between the canal and the park, close to Mile End station. We reopened 1st October and are planning a party on 22nd October. This is a studio warming party, to invite people over to come see us, and find out more about printmaking, to thank everyone who has supported us, and to invite continued support for the future.

img_5441The press release is below. Please come!!

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PS> One of the rewards will be this print in pink, or the one above in blue, which you can come and print yourself and take away for a fiver!! If you can’t make it, let me know and I’ll save one for you… elp-studio-warmer_pink_e