I am working on a new design for a linocut print of a japanese anenome flower. I love growing colourful flowers on my balcony; I am fascinated by the variety of form, function and colours; the change from bud to bloom to seedhead. I am working towards doing a series of flower prints. I am cutting the lino currently for the first design I did for ‘Marigold’, which has set the tone to start the series, bold and graphic. I might try a few more variations before settling on the final design for the japanese anenome, but I am liking the bottom right image the best.
(© Catherine Cronin)
Pleased that for my 200th post I can share that I am excited to have my Peru Series of linocut prints in this exhibition ‘Purveyors of Print’ at Xylonite Arts, 12 Winchester Road, London E4 9LN from 08 April to 09 May 2015.
Here are the 4 linocuts that made it:
Peru Big Cat Linocut & Ink Hand Colouring
Peru Flying Bird Linocut & Ink Hand Colouring
Peru Standing Bird Linocut
Peru Bug Linocut
(© Catherine Cronin)
I really enjoyed the Grayson Perry ‘Who are you?’ exhibition at the National Portrait Gallery. His work as always is visually bold and colourful, perfectly executed, intimate and personal, and adds a strong voice to the conversations on broader social issues. The work was placed within the permanent collection; a little like a treasure hunt to locate them which was fun, but also placed amongst work that joined in the converstaion on the topics the works raised. The exhibition is free and on until the 15 March 2015 – here is the gallery link http://www.npg.org.uk/whatson/graysonperry/display.php
Here are a few photos of my favourite pieces in the display.
The Ashford Hijab screenprint on fabric by Grayson Perry
Melanie, Georgina and Sarah by Grayson Perry
Jesus Army Money Box by Grayson Perry
Border detail from tapestry The Line of Departure by Grayson Perry
Works copyright of Grayson Perry.
Yesterday I went to the Barbican Art Gallery and saw a free exhibition by Walead Beshty. The work was an installation of 12,000 cyanotype prints covering the wall of the Curve Gallery from floor to ceiling. Each print is produced by coating paper, card or wood with UV-sensitive emulsion; taking an object from the artists’ studio and placing it on the paper, card or wood and exposing it to sunlight. After exposure to sunlight a silhouette of the object appears against the cyan blue background. The cyanotypes are presented in order to form a visual time line from October 2013 to September 2014. The art work is called ‘A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench’.
Please see exhibition details at http://www.barbican.org.uk/artgallery/event-detail.asp?ID=16302 On until 08 February 2015.
There is no doubt that the size and overall visual effect of the installation is instantly appealing; and I soon found myself automatically starting to identify the silhouettes of objects, and admire the more mysterious forms produced. When I recognised, objects it started for me an internal dialogue thinking on that object, the last time I used it/saw it, my own personal narratives that were associated with it.
What is it about a collection of objects/items that is so satisfying? I wonder if it is because it is a very human activity, to control by collecting, identifying and labeling. I also found myself wondering if the collection was edited, editing also changes the values of the artwork, by showing you what the artist wants you to see, rather than the results good or bad of an action. I like the idea of an unedited collection of work, maybe that’s because I would find it impossible to stop myself editing!
Here are some close-ups I took of the cyanotypes; there are better images in the gallery at the above link.
Artworks copyright of the artist Walead Beshty