Tag Archives: Punjab

Workers’ Mates

27 Nov

2017 Punjabi Storm

I’m a gallery artist at the excellent Workers Gallery in Ynyshir where up to 20 invited artists are selected annually to have a square metre of permanent exhibition space and to work with the gallery to develop the exhibition programme and run regular residency and demo days. The Workers’ focuses on art made in Wales but also has a special programme of international artists throughout the year. It’s a lovely gallery, worth visiting.

Supporters of the gallery often become ‘Workers Mates’ for an annual contribution of £20 and in return they receive special exhibition opportunities, offers and VIP invitations. It’s an interesting model of working as it embeds the gallery in the local community through the Workers’ Mates scheme and also gives artists an opportunity to curate their own exhibition area.

I just visited last week and changed my ‘square metre’ to show these fairly new monotypes that haven’t been exhibited before. They’re based on impressionistic drawings I did during my last visit to Pakistan while I was travelling through The Punjab, and I used the 3-colour reduction technique with Caligo Safewash relief inks onto BFK Rives paper. See my Techie section for more about the technique.

 

 

Punjab To Rhondda With Cake

20 Nov

Winter Woodland artist residencies Nov 2017 b

I’m doing a one-day artist residency at The Workers Gallery in Ynyshir this coming Friday so if you’re in the area, or fancy that trip up the Rhondda Valley that you’ve been promising yourself, please pop in and see me. I’ll make a cake. Maybe a Victoria Sandwich.

Victoria Sandwich

When I did a residency in Pakistan, at the Zaira Zaka Print Studio three years ago, I travelled from Rawalpindi to Lahore across the vast expanse of the Punjab through some incredible weather conditions including the most ferocious thunderstorm I have ever experienced. In the car, I did 50 very quick impressionistic drawings of the journey into a small Khadi sketchbook, and these have inspired a series of small monotypes. I have done 10 so far and I’ll be working on some more at my residency in Ynyshir.

I edited the 50 original drawings together into a short video with a soundtrack taken from the sounds around me during my month-long stay. Here it is….

Drama In Rags

28 Oct

blue

Yesterday I blogged some drawings I’d based on my travel sketchbook during my artist residency in Pakistan earlier this year. Today I developed one of these sketches into a full colour monotype down at Swansea Print Workshop.

This slideshow requires JavaScript.

The technique involves inking up a perspex (plexiglass / acetate) plate with oil based printing inks and removing the lighter areas of the image you want to create. It’s a drawing process using all sorts of materials to make marks. In this series of landscapes inspired by the Pubjab I used cotton rag and scrim (tarlatan) for the mark making. This forced me to be very free as I couldn’t do any fine detail and this in turn created a much more dramatic image than I usually do. I’m pleased with the direction I’m going in with these. For more information about this technique, please click here.

Quality Counts

15 Oct

pink mountain

I spent a couple of hours at Swansea Print Workshop yesterday and carried on with the series of small monotypes based on impressionistic drawings of the Punjabi landscape I travelled through earlier this year. The originals were drawn with Daler Rowney artist quality soft oil pastels into a Khadi handmade paper sketchbook. It’s important to use the best quality materials otherwise the artwork won’t last.

Someone asked me for advice a while ago; she’d bought a large pastel drawing and had it framed with archival quality materials. It was hung on a dry interior wall out of direct light and nowhere near a radiator but it had faded almost to nothing over the five years she’d had it. It was obvious that the artist had used inferior, probably student quality, pastels and hadn’t used top quality, acid-free paper.

In the interim, the artist had died so there was nothing she could do about it. This monotype is printed onto BFK Rives handmade paper, 250gsm with Caligo litho/relief oil-based inks. It should last a few centuries.

Punjab Jamming 2

30 Jun

scan0008

Did some more sketch jamming inspired by the pastel drawings I did during my artist residency at the Zaira Zaka studio in Pakistan in April. The originals were quick sketches I made during a journey between Lahore and Islamabad and were drawn into a white handmade Khadi sketchbook, around 15cms square and quite textured. I’ve tried to capture the impressions using the same pastels, Daler Rowney artist’s soft pastels, but onto a smooth black Daler Rowney Ebony sketchbook. The images are a little larger, around 17 cms square.

scan0007I’m moving away from reality now and into abstraction, which is nice because I rarely do that. I’m enjoying making marks for the sake of it, rather than to represent something specific. It’s unusual for me not to work directly from life but I’m really getting into it. I always found it inhibiting in the past, but jamming is loosening me up.

Punjab Jamming 1

24 Jun

scan0006

I’m trying something a bit different. Normally I draw from life, but today, instead of scribbling what’s in front of me, I’ve been using my recent pastel sketches from the Pakistani Punjab as a starting point. I’m not trying to copy them, but to use them as inspiration. Like a musician jamming, I suppose.

scan0009

I’ve been drawing straight into my Daler Rowney Ebony sketchbook using Daler Rowney artist’s soft pastels. The sketchbook is size A4, spiral bound, with black acid-free paper, 180 gsm, a tidy weight.

%d bloggers like this: