Been trying to find the perfect paper for my monoprints. Spent hours searching the net, but I think I've found some from GF Smith in Hull. They sent me two pieces of cartridge paper (and a sample book for free) to try, and I printed today. The paper is 135gsm which is a bit thin for the amount of ink I used as the oil in the ink seeped right through to the back. I think 175gsm will be better, but it will be more expensive. White 250gsm cartridge is perfect, but I'm looking for a colour to match the somerset newsprint I love so much. GF Smith have a cartridge called MIST which matches the colour very closely, watch this space for more details... BTW, the prints were fabulous! Will photograph them and post soon.
November 7, 2012 by Lorraine Clewlow
The purpose of my AA2A residency is to expand on and underpin my previous work and this involves fusing the sculptural materials, techniques and ideas of form which my Mum used to use (in her own work) with my own sculptural forms which express the loss of her from my life. Although filtered through memory I feel this exploration of materials will bridge a gap in space and time and its fusion with my choice of materials will be both a celebration of creation and a cathartic realisation.
Mum loved Barbara Hepworth and Henry Moore, her forms reflected this, and so I have started to research their work and incorporate this into the meaning of form within this project.
I started with a chicken wire structure which has hints of human form, it is three legged with reference to myself and my two siblings. The form is trying to stand, each leg requiring the support of the other two. The form has the simplicity and aesthetic of Mums sculpture and incorporates a niche into which one of my own small scupltures will be put.
photos to follow - I need to "undelete" them as I just wiped my memory card... luckily I know someone who can fix this :-) I hope...
Since being a very small child, I have always held the belief that I am harbouring a hidden talent that I have yet to discover; a talent so amazing that it requires little effort to actualise but has the power to insight awe and wonder in all who behold it. This belief has led to some monumental disappointments with many potential talents being scratched off the list, playing professional darts, disco dancing on roller skates and speaking Esperanto to name but a few. Heading for 40 with my hidden talent still eluding me I recently bumbled into another epic fail situation through rejecting rigour in favour of alchemy and the quest for super powers.
My AA2A project is going to explore what will happen to a series of creative relationships developed in digital environments when they are migrated offline and will be documented by analogue processes. Darkroom photography was my first love and although I cast it aside for the speed and convenience of digital photography well over 10 years ago a spark of interest rekindled my passion for film this summer which became the inspiration for my project proposal.
The spark bizarrely took the form of a £3.50 Polaroid camera that I found in a charity shop; I took a chance and loaded it with the considerably more expensive film and headed off on an analogue adventure. The thrill of flipping the chunky camera casing to reveal its lens and flash, the heavy clunk and whoosh of the ejected Polaroid and the nervous anticipation experienced as the image developed combined to elicit ridiculous levels of excitement! With each press of the shutter I was left with a tangible, yet slightly imperfect, outcome of a carefully considered composition.
The whole Polaroid experience led me to consider both the value of photographs as physical artefacts and a renewed interest in exploring the fundamental principles of making an image. Once inducted as an AA2A artist I decided that experimenting with pin-hole cameras would both be an excellent starting point to take my analogue adventure further and a useful device to find my feet within the Lens Based Media department at the University of Lincoln.
I set to work and after a fruitful spell of internet research, I meticulously crafted 20 lightproof cameras which I loaded with light sensitive paper. This however is where my enthusiasm and belief in super powers took over and confused my logic. Instead of choosing one subject and using a series of cameras to photograph it, making an incremental change to the length of exposure each time, I chose a range of subjects, took a single photograph of each and used an exposure time plucked from the air. After 10 minutes in the darkroom, the small black rectangles of photographic paper that I had carefully retrieved and developed told me that I had another hidden talent to strike from the list of possibilities.
Despite wanting to go home to cry into my tin of failed cameras I took Samuel Beckett’s advice to ‘“Try again, fail again, fail better.” I enlisted the help of Dave O the department’s senior photography technician who very patiently helped me to take a more robust research based approach to calculating exposure times. He also introduced me to the baffling inverse square law which reminded me that photography is all about physics.
Had I not have failed I wouldn’t have thought about physics and photography and I wouldn’t have prompted myself to rewatch this film by Daniel Meadows about his very humanistic take on the subject. After experiencing the sheer joy of creating an image as a by-product of determination I am now happy to continue the rest of my residency learning to fail.
I'm off to to my frist Museums Association conference all the way up in Edinburgh, to listen, learn and play counter-tourism, which is my new "thing" in which i often find myself in a busy museum bare foot, with pockets full of plastic animals, talking to paintings and eyeballing statues...anyway...
I'm also going to collect my AMA certificate which i have worked very hard for, over the last three years
I'm excited as this is a great oppurtunity to network and talk to museum people about the role costume and artwork does and could play in a wide range of heritage sites
As per normal i will have a couple of hats on and will also be representing IMTAL Europe (The International Museum Theatre Alliance) for whom i am a director and as part of this role I edit the IMTAL Europe Insights Journal three times a year
This is a very diffrent role (hat) from that of "Artist" and i am always interested in how the two worlds meet
expect more on what i got up to when i'm back at the weekend, including lashings of Iron brew...
I started the day feeling more than a little nervous. The wonderful Dino (print tutor extraordinaire) had introduced me to the wonders of digital printing the week before and I had dutifully scribbled down notes. Notes that were in depth and insightful (or as it happens shallow and altogether a little bit useless).
So...when the day arrived to print my imagery I felt like a tiny first year student again. I put on a brave face and tried my best to remember all the instructions and wise words Dino had imparted earlier, not wanting to seem like a fool, so wanting to ask as few questions as possible.
On seeing my work pop out as if by magic from the printer my nerves calmed. The colours were so different to the originals which was expected but exciting- the blues looked too blue but the white calico stitch work came out a sort of golden hue which was lovely.
Feeling happy that something other than plain white silk emerged from the rolling machine, I took my creation gingerly to the miracle that is the steamer.
Having pinned my finger to the carousel and ignoring the blood pooling around in my rubber glove I slammed shut the steamer door.
Minutes later I carefully unfurled the backing cloth to discover the inevitable...a drop of water had somehow crept through yards of backing cloth from a thoroughly dry steamer onto the silk. Impressively done.
Despite this set back I left for the day feeling pretty darn chuffed. I know all too well mistakes must happen in order to really appreciate the final product. Nothing should ever be too easy.
It has been suggested to me that I need an Anne Boleyn hand- with 6 fingers. I wonder what her issues would have been? She is reputed to have been 'the only woman who ever dared to argue and answer back to Henry.' (http:/
In an unequal world where a 14 year old was shot for speaking out in support of education for women, we need to find dynamic ways to have our issues heard and addressed.
The Adam Gallery on Cork Street currently has an exhibition of 40 or so prints giving you a great chance to see the work up close and to consider the different processes and strategies used.
Espiral (From Negre i Roig), 1976
Etching with flocking and embossing on Guarro paper
Signed in pencil and numbered
56 x 76 cm
Halloween is a busy time of the year for costume designers, so far this week i have been working out how to package and post wings, fighting though armys of Zombies doing their make up and fiting up blood drips which dispence strawberry jelly...
What i love about halloween is that everyone dresses up, because is is ok to do so and more now than ever, because it is expected
clothes projects what we want to be and fancy dress gives us an excuse to play with who we would like to be, "dress up" allow us all to be performers and play a role even if only for one night
i love to see how people dress when they think anything goes, it tells you a lot about people
My costumes are never quite a good as i plan them to be, as i always end up making so many things for other people, this years costume...to fit with my AA2A project and as its John keats 217th birthday...a consumptive...
At what point does electronic timing take over? When I’m looping a sound, or jamming with a mic, at what point does the subtle energy in the groove shift, or does it ? - is there a difference between a mass-produced, bubble-gum pop dance track, and someone baring their intimate soul in a pub with an audience of two...?
what is that difference...?
Ties into a bigger discussion around the nature of performance, improvisation, spontanaety, being present, in the moment, those great musical moments, then the desperate attempt for producers to capture, monetise...
whats the difference between music in the 60’s and music now - anaologue, digital, pre-programmed samples, etc..