Four imaginary musical instruments are now complete. It has been a journey of discovery, several ‘aha!’ moments, and as many ‘oops’ moments. On my desk are a number of shapes cut from my prints which haven’t gone together in the way I intended, and they are now waiting for a new approach. There still may be a little more tweaking to all of these, and some gluing and strengthening to make sure they will travel safely to their destination.
The prints used in these are all drypoint, some on copper, some on acetate and some on drypoint card, a lovely surface to work on. I have used a lino block too, which appears on some of the circles in Whirlygig. They are printed on 250 gsm Corona by Magnani except for the one at the front on the curved base which is on 300 gsm Voyager watercolour paper. The inks are all water-based and are a mix of Akua and Schminke.
The two above images are of ‘Whirlygig’, in its completed state and in progress.
This one is called ‘Up and Down’. You can see the print that I used, cut into 3 strips, two strips cut and folded to create pop-ups and the third makes the base. You can see some of the image that is on the back (which I forgot to photograph). These formed themselves into a stepped construction, a bit Aztec in its form. Maybe there are new directions to come!
Printmaking is an art form that somehow gets inside you – once you start it is hard to leave it behind. I would have described myself simply as a printmaker 20 years ago, but over the years other media became important to me, and printmaking became less of a focus, but was always in the back of my mind. Now it is front of mind, I have an allocated day for it once a week, and of course preparations for that day occupy a lot of the rest of the time. There is so much pleasure in creating prints, that moment of the reveal as paper is peeled back from the plate – did you get what you expected, or something entirely different. The weather affects the print, high humidity makes the ink run more smoothly, and dampens the paper, low humidity makes the ink harder to work. Cold and heat too have sometimes unexpected effects. All this adds to the nature of printmaking, the constant surprises that emerge.
I am not looking for perfect editions, in fact the reverse is what interests me, the moment of serendipity, the reaction of layering another plate over the previous image, how the inks respond to one another. Even results which could be interpreted as a disaster can be turned to advantage. Inspiration comes all the time – an image may be offset back onto the second plate, and a new ghost print can be taken from this. Printing on the back of the paper gives new possibilities and this is what I have been using in then developing three dimensional forms from the prints.
Coming up is a print exhibition with the title of ‘Music Box’, and I will submit some of my 3D works. So far, two are complete, the one shown above, which was inspired by the workings of one of those tiny hand-wound music boxes that play a tinny version of Happy Birthday, and the one below. This one I see as an imaginary musical instrument, perhaps something from a civilisation we know nothing of, so no-one knows how it should be played.
More prints have been made, so the next step is turn transform them into more musical objects.
Both of these are approximately 26 cm wide.