ARTISTS TALKING

# 9 [18 May 2007]

The bevelling of 18 plate edges has finally been achieved. THe view across the quad by the print room has been a changing vignette of students going about their business, moving from A-B, unaware they are being observed. It is home from home. My home studio is 1950s with metal Crittal windows, and the architecture here at University of Worcester is the same. I have ordered my own supply of Copper Sulphate crystals from Hawthorns so that I can be self sufficient with the etching process. I have enjoyed listening to local radio and feeling a part of something much bigger. The life of an artist is unbelievably isolated and at times it is hard to feel that there is any point in the process. Working in a different environment, with an exhibition to work towards, has undoubtedly helped new ideas formulate, and working methods alter.

I realise that the only thing I really love is drawing. The printmaking processes of monotype, relief block and etching allow me the freedom to continue to draw, and reach a wider audience through the production of limited editions prints. The linking theme in my work has to be a simple fascination in form, be it in the life room, in a museum, in the street. I really like the juxtaposition of  differing imagery, sitting side by side, not knowing how they are linked.

# 8 [11 May 2007]

Over the last few weeks I have used the peace and quiet of the Print Room (no students around)  to quietly get on bevelling the edges of 24 plates! The silver powder at my feet is testament to the amount of effort expanded. Bevelling is a wretched process, noisy, physical, but strangely meditative, and the resulting plates are ready. I have been working in the Life Room and Worcester Porcelain Museum on the imagery. The next stage is to polish, degrease, add hardground, draw, etch, proof, edition, exhibit! It is akin to preparing the border before putting the plants in. I am all set.

# 7 [30 April 2007]

I've been to Italy, which was inspirational, and experimenting with life drawing in the life room. I now know how these etchings will develop. They will be about fragmentation and the fragility of the human form. I have the drawings which can now be transposed into a series of etchings, and relief block prints. I would hope to be able to show them sequentially via a projector onto a blank wall. Thus the eye will be focused on each image, and utilise memory as each image is held, then lost.

# 6 [19 March 2007]

Last Friday I proofed, then etched again the two plates I am working on. I had been really pleased with the results, and drew further onto the plate with marker pens, before placing them in the Saline Copper Sulphate solution. Today Monday I proofed the prints and, oh my goodness, the results are shocking! I think the solution had been changed because it "bit" so much faster than before, and these two new proof prints are really black and white, and I thought they'd be grey and white. I can see that a lot of burnishing will have to take place to knock back the contrast. I may even start again, having learned my lesson. Really I need to hang fire, and do some test strips showing timings etc. as usual I just dashed in and thought I knew best. Having said that if I scrape back into the image something magical may just emerge. I'll give it a go! We have just had another couple of bookings for our weekend art courses in April so that is exciting. We are also taking out a small classified ad in all the summer edition of the art mags so it will be interesting to see if any new people contact us. This week I intend to draw directly onto the hardground etching plates in the Life Room. I think the immediacy will shine through.

# 5 [19 March 2007]

Last Friday I proofed, then etched again the two plates I am working on. I had been really pleased with the results, and drew further onto the plate with marker pens, before placing them in the Saline Copper Sulphate solution. Today Monday I proofed the prints and, oh my goodness, the results are shocking! I think the solution had been changed because it "bit" so much faster than before, and these two new proof prints are really black and white, and I thought they'd be grey and white. I can see that a lot of burnishing will have to take place to knock back the contrast. I may even start again, having learned my lesson. Really I need to hang fire, and do some test strips showing timings etc. as usual I just dashed in and thought I knew best. Having said that if I scrape back into the image something magical may just emerge. I'll give it a go! This week I intend to draw directly onto the hardground etching plates in the Life Room. I think the immediacy will shine through. I get the greatest buzz drawing directly from nature.

We have just had another couple of bookings for our weekend art courses in April so that is exciting. We have just taken out small ads in the summer art mags, so it will be interesting to guage the interest.

# 4 [12 March 2007]

Today I met the third and final AA2A colleague, Clais, which was fascinating. We had a healthy chat, and will be comparing notes by email shortly. I had been preparing the aluminium plates at the end of last week, and today was able to start two new etchings: one figurative, of a female on starting blocks, and another of a view across a working port. The fumes from the hardground were very strong and I had to open the windows as wide as possible. The University was officially open today so car parking was free and there were plenty of proud parents ambling around with their offspring. No doubt as they walked past the Print room window they were wondering what was cookng. I used a machine tool into a relief block print, and can proof that on Friday. I also checked into the library, and shall be taking out some reference material. I think the format for showing the prints in the June exhibition will be a slide show in the darkened video space. Now I need to source a projector for the five day duration. Outside all the daffodils were at their best, the hockey pitch was in full use, and I noticed the trees in bud. Spring has arrived.

# 3 [5 March 2007]

This afternoon I met two of the other three AA2A artists which I found really interesting, Jane and Paul. We hadn't met before and it was fascinating to hear their ideas for the exhibition in June. As they were discussing their ideas, I could feel my ideas immediately expanding and developing. The four of us will participate amongst a much larger group of students, staff etc, approximately four exhibitions alongside one another by the sound of it. Let's hope it gets the coverage and footfall it deserves. It should be a healthy mix of video/film, installation, photography, drawing and printmaking, and that's just us four.

# 2 [2 March 2007]

Today I degreased and added a hardground to the etching plate.

Whilst that was drying on the sunny window ledge I added the second colour (black) onto my lino cut. The edition of twenty was easy and quick, and the registration worked well. The results were graphic and striking. There is a simplicity about a three colour lino cut that really appeals.

I then returned to my etching and used the etching needle to cross hatch into the shell forms and etched the plate for twelve minutes. The resulting proof showed dynamic, rich, velvety lines. I now have two working methods/vocabulary for development in future.

Also briefly experimented with a small postcard sized piece of Balsa wood which I had on me. Ran off some black proofs and intend to overprint once I've dug out the image with my electronic tool. Last time I used a biro to make an indentation but could only go with the grain! Handy though if you're travellimg and need something super light to use as a "plate".

# 1 [26 January 2007]

For the past few weeks I have been experimenting with Monotype techniques which have yielded great monochromatic results. Today I have started to experiment with a new Saline Copper Sulphate Etching technique and the results are looking very encouraging. In both cases I have translated figurative studies ( drawings and paintings) into these printmaking media. A few of the monotype results can be seen on our website: www.powishayward.co.uk

26/2/07 Yesterday I proofed and printed 20 copies of my new linocut relief block print, "Shell + Rock", in burnt umber onto Japanese paper. I then cut away the areas I wish to remain burnt umber, and will over print in black on Friday. I was pleased with the results. There is a fresh, graphic quality to two natural, organic objects, and I like this contrast. It was Spring-like day and I had the window open, and could hear snippets of student conversations outside in the quad. I then proofed the Two Shell etching I am working on, and scraped back into the dark aquatint on one of the shells, in preparation to put on a hard ground, and work some lines describibg the complex shell form into this area afresh. I enjoy working between two processes, ie lino and etching, because it keeps me on my toes, and the results are so very different. The only downside of working in an academic institution with no storage facilities is lugging all the equipment around. I'd intended to bevel the edges of some copper plate which I'd taken, but ran out of time, and the tin of etching ink was unneccessary, because there was some available this time. Oh well, my arms are a little longer. The nomadic artist lifestyle!