REAL LIVES
My work splits into three distinctive
parts. The first third is of images of livestock and, in
particular, rare breeds of sheep, goats, pigs and cattle.
The animals' rarity adds to the feeling of individuality
that I am trying to achieve. The uniqueness of the individual
is all-important. This is also true of place in an age in
which one urban environment is identical to another. Within
my prints and oil pastels of woods and architectural interiors,
I have specified particular trees and particular places.
I see these two subjects as portraits - the individual and
the place as unique.
The other third of my work is with the human form. As with
all my subjects, I see these works as individual portraits
rather than anonymous life studies. This is not to forget
history, myth and shared iconography. A portrait of someone
called Eve cannot fail to invoke shared myth, as does, in
a more obscure way, 'A Line of Grace'. But what I try to
do with all my work is produce subject-centred comments
on real lives.
DRY POINT PRINTS
Dry point prints are one form of intaglio printmaking. The
plate is inscribed with an etching or engraving needle.
When the image is complete, printing ink is then dabbed
or scraped onto the plate. The plate is then wiped with
a muslin cloth, leaving only the ink in the grooves or indentures.
Heavyweight damp paper is then placed on the plate which
is already on the bed of the press. The bed, plate and paper
is then taken through the rollers. This transfers the ink
onto the paper. The whole inking process is then repeated
for each subsequent print.
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