If William Morris had a rabbit …
I have made a herd of rabbit tiles (16 or 17 as an initial test) using the linocut block shown on the left here (also shown in a previous post when used to make a linocut print). After dusting the block lightly with cornstarch using a paintbrush, an impression was made in the clay using the lino block. The cornstarch works wonders to ensure that the clay releases cleanly from the fine details in the lino block. The clay was allowed to stiffen for several hours, then the shapes were cut out leaving a narrow band around the perimeter, and the sides were smoothed with a damp sponge (sample on the right in image above). The tiles have been bisque fired and now await underglaze and glaze applications. Some will receive pins to wear as brooches, and others may find their way into a mosaic.
Just unloaded 6 of these mini boxes from the kiln today after a bisque firing. Each one is different and has a collagraph plate impression on each side, including the bottom. They will be coloured with underglazes, and finished with a clear glaze. First image shows all of the leatherhard parts awaiting assembly. Second image shows the sides going up around the base. Last image is the final box, minus its little feet. Previously, I have printed my “ru” stamp on the bottom with underglaze; this time I impressed my mark (see tests on the offcuts to the right of the first image).
To view a selection of the work that I like to make, visit my new portfolio website. Work featured includes: ceramics, mosaics, original prints (collagraph and relief), and jewellery (ceramic and wet-felted).
I am thrilled to announce that my work has been accepted for representation at the Craft Ontario Shop (formerly the Ontario Craft Council’s Guild Shop), located at 118 Cumberland St, Toronto, in the heart of Yorkville. I made my first drop off of inventory today, including a mini tile mirrror, mini boxes, and leaf tiles. For more information about Craft Ontario, visit their website, www.craftontario.com
I enjoy the juxtaposition of delicate pressed leaves and seed heads next to the machine-made lace trim. The addition of sequins along the stem of one of the weeds adds man-made circular elements to the composition.
Collagraph prints made using 4 “handpicked” plates, hence the name of the series “Handpicked Spikes”. The numbers after the name indicate the plates used.
Working on a new series of collagraph plates in a vertical format: 7/8” wide and ~4” high. Plates will be printed in various combinations once test prints have been done to indicate which one work best.
If William Morris had a rabbit …
I am working on a series of prints incorporating rabbits to exhibit alongside my sister’s, Rose Pearson's, paintings. Linocut blocks will later be used to make rabbit inspired works on clay. Here, a William Morris print has been adapted for the linocut rabbit. A second blank rabbit shape was used to lay down the background colour. I would like to incorporate these rabbits into collagraph prints. Experimentation is ongoing.
A New Year … A new project! I’ll be teaching a printmaking workshop during the Middle School’s Arts Day at St. Andrew’s College in February. After seeing the devastation of the tree canopy in the GTA resulting from the ice storm, I decided to use the majestic silhouettes of trees pre-icestorm as the focal point for the project. Students will make a relief print of a real leaf skeleton on paper (photos 1 & 2). By inking the leaf on both sides and sandwiching it between two pieces of printmaking paper one can make two prints at once! They will then make a pencil drawing (image 3) of the silhouette of a tree (to be interpreted in the carving as day and night, or positive and negative) on paper, transfer the drawing to a 3” x 4” piece of lino, carve the block (image 4 & 6), then print their tree silhouette over the leaf skeleton. We’ll be using AKUA inks (soy based, clean up with soap and water) which have some transparency so the skeleton will show through the tree print. In my test run for the project, I was going to print the tree in two stages, a reduction print with “night” followed by “day”. I had traced over my pencil drawing on the block with Sharpie and found that when printing “night” (lino block in image 4) the marker actually printed onto my paper leaving an image of the tree in the night sky that I wasn’t expecting (5th image). This is why one works through a project beforehand! Image 7 shows the lino block printed alone. Image 8 is the finished 2-layer print.
Please visit me this weekend at Earth Songs Studio in Aurora where I will be Julia Spittel’s guest artist.