Last few days of Riverhouse Show at Walton-on-Thames

My stay at the Robert Phillips Gallery is nearly over, with two apron-printing workshops to come this Saturday 15th – a few places still remain- book at riverhouse barn.co.uk

I’m exhibiting as part of Surrey Artists’ Open Studios this year. The Riverhouse is a lively arts centre and I’ve been treated to jazz music, indulged in wonderful coffee from the Community Cafe, and met a whole host of fantastic volunteers and visitors. There will even be a yoga class in here with my work on Thursday evening…I will be sad to leave on Sunday!

Canvas Squares

I am Studio 23 on the Thames Trail, where you can bid for a piece of work from all seven artists, proceeds from the donated artwork goes to the Antony Nolan Trust. Open every day from 10am-4pm including Sunday 16th.

The Thames Trail
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Open Studios

Following the ‘A Year at Ochre’ show at The Lightbox in Woking, I’ve been delivering a series of community workshops with the Watts Gallery in Guildford. We made heat pressed and screen printed aprons inspired by the amazing work of Mary Watts, with a focus on pattern and expressive shapes.

The work made will be available in the online shop and displayed at the end of June in the Contemporary Gallery.

My focus at the moment is on the final chance to see the body of work from last year’s residency at Ochre. I’ve been working on some more images and making prints and aprons which celebrate all that Ochre has to offer. I’ve also been commissioned to make this apron which features the talented printmakers Sue Grant and Helen Baines.

Nigel Hills Printing at Ochre
Pocket Printing Plate

These images have made their way onto greetings cards which can be purchased from the exhibition from June 5th-16th at The Robert Phillips Gallery, The Riverhouse Barn, Manor Road, Walton-on-Thames. KT12 2PF.

Rosalind Moysen, Studio 32; Malcolm West, Studio 25; Katy Selwyn-Jones, Studio 24 Hilary Jones, Studio 30; Tamara Williams, Studio 22 and Tricia Baldwin, Studio 30

Everyone is welcome to the Private View on June 6th from 6-8pm with artists from the Thames Trail, at the Riverhouse Barn (Studio 23) when we will be kicking off the Silent Auction for a piece of work donated by each of the artists on the trail in aid of the Anthony Nolan Trust.

Planning the space

With a month to go until A Year at Ochre at The Art Fund Gallery in Woking’s Lightbox, I am busy planning the space. The idea will be to recreate the feel of the studio by putting a table and chairs into the space, to encourage people to stop and look through my sketchbook.

So far I have printed some black neoprene with quotes and images so that it will look like a customised version of the textile table.

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I’m having trouble finding office chairs at a decent price, and trying to decide if I do get some that are worse for wear, do I re-upholster them with some of my printed fabric? Time I think might not be on my side considering that I want to make sure the aprons I include are finished, and also framing some of the prints.

I really like the etchings of chairs, so these may form the centrepiece of framed work. It’s definitely been the biggest learning curve.

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I really liked the stained glass feel of these images printed on the mesh, however there is very little natural light in the Art Fund Gallery, so they may not work quite so well in the space…

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Having re-applied for funding, fingers crossed that it’s successful, as this exhibition has taken more funds than I have at the moment. I really hope that by making it exciting that more people join the studio, especially recent graduates and undergraduates who can intern there.

Looking back, looking forward

Tomorrow is the Ochre Christmas Party, and I am going to present my work from the year-long residency. My proposal was to carry out documentary drawings of the workshops and produce a body of work which celebrates all that the print studio has to offer. I thought it would help to get a sense of perspective by looking at my diary for the year.

I drew Nigel Hills, printing one of his large collagraph prints very early on during the residency, it took me a while to put the sketches into a composition.

On January 19th I left a job I was doing at an FE College. I realised that I couldn’t do the technician part of the job because I wanted the studios to function safely, and there was no budget for maintenance. The teaching I was offered was outside my specialism, and although I can turn my hand to most things, you get to a point in your life where you want to teach and plan the things you are good at and enjoy. I felt sad about leaving because I felt I’d let down the department I was working for, and that I had failed to do the job.

I went for a walk on January 24th with a friend who is a quilter, and I wondered whether I could make some textile work, to explore the exiting techniques I had helped the students with when I was working in the Textiles department as a technician.

 

On February 9th I spent the day on Jule’s sublimation course, heat pressing onto different fabrics. I got excited about the possibility of heat pressing colour onto neoprene, and then screen printing drawings of the OPA group over the top. At the time we had a brilliant intern called Laura May Spurgeon, who had just finished a Fine Art degree at Falmouth, and was screen printing onto canvas and painting over the images. I hit upon the idea of making aprons for each of the print areas offered by ochre, and set about screen printing spray bottles onto denim.

The first critique we had was on April 10th with Julie Hoyle. It was quite funny to realise that in making work about and for Ochre, that I had slipped back into my comfort zone of screen print. I continued to document the workshops, drawing the Etched Lino class in April, and I had a go at Solar plate Etching with Susie Turner at the beginning of May.

On Jai’s suggestion, I visited AD Colour on May 10th, making 6 drawings and collecting an armful of used screen mesh. I went completely bonkers on the heat press with screen printed images onto mesh, black fabric and neoprene. I started pleating the fabric and then heat pressing it to create a completely nuts frilly transparent apron.

The second critique was with Ruth, who suggested I work onto paper too, and try out some of the other techniques on offer, as well as gain more quotes so that I could use these to illustrate why people love the studio. In September I began Richenda’s Intermediate Lino course, and used some of the drawings I had made at Katherine Jones’ Collagraph workshop. I wasn’t brave enough to make a reduction lino print, but I explored cutting the lino into shapes, and went on to do Gill Jenkin’s Jigsaw Lino course, which I highly recommend.

 

My last critique was with Mary Branson, she had the fantastic suggestion that I recreate the Ochre table for my exhibition ‘A Year at Ochre’ at the Lightbox in February, complete with chairs, and put my sketchbook on the table. With the aprons hanging up, I will still have gallery space to put up prints or a large textile piece, but it will make people linger, look at the work and absorb the welcoming feeling that pulling up a chair in the studio creates.

In my last few weeks, I was lucky enough to technician at the Exploring Relief workshop given by Jane Stobart and Mustafa Sidiki, it gave me the confidence to print a huge apron-sized plate onto paper. I was also able to attend Mai Osawa’s Introduction to Etching, which gave me the chance to etch some of the characterful chairs in the studio, and made me more confident with intaglio inking methods.

Watch this space as I put together all the work I have created over the year into the exhibition from February 19th at The Lightbox, and June 5th at The Riverhouse Barn in Walton-on -Thames (as part of Surrey Artists Open Studios).

Half way point

Just over half way through the residency at Ochre, I thought I would spend some time taking stock of work so far and where it is heading. So far I have made about 3 complete aprons, with lots of experiments along the way. I started out using the heat press onto a shower curtain…

Printed on lots of different fabrics with images of the workshop and the people using it.

Made a denim apron with foiling to represent screen printing that was a bit Warhol inspired…

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Went to AD Colour, Ochre’s sponsor for ink and screens in Shepperton, and documented the guys stretching screen mesh on a massive scale…

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Brought home some screen mesh, complete with glue, and started heat pressing and screen printing onto it.

Made some crazy aprons from neoprene and mesh…

Started working onto lino to make a relief print apron, and began to work towards making a booklet to promote the courses that Ochre offer to increase engagement when the shows are on at the Lightbox and Riverhouse Barn next year.

Tricks of the trade

Today I helped the team from Ochre Print Studios to hang some highlights from the recent SAOS Show at Cranleigh Arts Centre. Cranleigh is the biggest village in the UK apparently, and the Arts Centre is a former church with striking Gothic windows.

 

It was great fun looking at all the work in detail and helping to edit and display it to it’s advantage. I was really pleased with how much natural light there was and how exciting the foiled aprons looked in the morning sun.

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The image of Kate in the top right can be recognised from the 20:20 prints I made to feature at PrintFest in Seven Oaks. I kept the image on the screen and had a go printing with an opaque pink and navy blue onto a piece of discarded screen mesh from AdColour. It looked amazing with a heat pressed background, so I tried it in this transparent frame. It looks really interesting, almost like a stained glass window against the light.

Sometimes stained glass does feature artisan trades, and it’s made me think that this would be an exciting way to display some work at the Lightbox next year….

What is it that you want to do?

…We want to be free to do what we’re gonna do….ok, so that’s Primal Scream, but it’s still the question that I’ve been asking myself for the last couple of weeks. And I can say it’s a bit clearer now.

This is the first Residency I’ve been successful with, and as such I am learning how to approach creating the work. The proposal was pretty clear, as as such I’ve been documenting both the studio space and those who use it, but having booked a gallery space I feel that there needs to be an endpoint of the work that is coherent and considered.

As a Resident Artist, all the courses at Ochre are free, and there is a huge pull to try everything and use it as a learning curve, however I also have more of an agenda with the proposal, and feel the pressure to create! Also, the popular courses are often full, so I think I may just observe some of the ones that really float my boat, such as the upcoming etched lino and solar plate courses.

What has been great is experimenting with the heat press. This is a relatively new addition at Ochre, and enables you to paint paper with heat transfer inks to either make marks of create blocks of colour. I’ve discovered that I can get amazing images on neoprene, and it is also fun to screen print onto.

Things as simple as scissors and ink rollers look so lush in these bright hues…

So what to make? Well, the first thing you do as an artist or in my case a technician for the last few years is put on an apron. The apron you use has a whole personality, mine especially as I am not the tidiest of workers!

The dilemma now is whether to make an apron for each of the characters roles of Ochre – Mai the etching and drypoint specialist; Annee the Studio Manager and Screen printer extraordinaire; Jai fellow Studio Manager with typographic skills; Jule the Textile Tutor; Sarah, leader of the Ochre Print Able group and Ruth the Collagraph specialist- a round six.

Or do I concentrate on the areas themselves: etching; screen print; letterpress; textiles; mixed media and collagraph…is that more limiting? Similarly it would be nice to make one of the aprons perhaps more sculptural or even woven – could I use strips of my printed fabric in this way?

Loads of ideas at the moment going into our first critique…open to suggestions and thoughts please!

 

 

 

Into the groove

Last year ended with the exciting news that I was successful in my proposal for a year long Artists Residency at my local Print Studio – Ochre in Guildford. I had applied for this before I started working as a Technician, and as the role involves giving technician time during the Open Access on a Tuesday, I felt more equipped in my application.

 

It was still pretty exciting to be successful, and initially I wanted to run my Technician job alongside it. However, I feel that the squeezes being made by the Government on the FE Sector have made it harder and harder for Art Departments to offer the courses that make a career in the Art and Design world a reality for those who don’t come from families with the means to support them.

 

The Colleges I have worked for have made it clear that Art is at the bottom of the agenda, and want to pour resources into STEM subjects for students who are already able and well funded to pursue careers in them.

 

It felt like a defeat to leave my job in the same week as the Secretary for Education despaired at the lack of support for social mobility in education. Art has simply fallen off the radar of this Government, and with it the vision, innovation and excitement  that comes with a career in the Visual Arts.

 

However, the fact that fantastic Open Access Print Studios still exist and engage other parts of society from practising artists to disability groups, makes me realise that this is exactly where I want to be. This year is going to be great.

 

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Back to School

As an Art Technician primarily responsible for Textiles at Alton College, I spent the last couple of days before the kids broke up from school by making the most of my Art Fund Card. I took in the Anna Sui exhibition at London’s FTM and then chose Balenciaga  at the V & A. I usually do a lot of drawing, as I think that helps me to really look and focus on the work, but lately the ease and immediacy of Instagram means that I will photograph rather than scan in my drawings.

Hence the sketchbook images for Anna Sui are over on Instagram (Henkalullah) – it is a brilliant explosion of colour with a lot of pinks and purples as you would expect. What I really loved is that on visiting with a friend, we both were taken back the the 1990’s and all our favourite music and clothes – personally I lived in DM boots, floral dresses and dodgy knitwear mostly from charity shops, so Sui’s plundering of the vintage and her signature grunge look only made me love her more. It was great to see the use of illustration in her show invites and as this is my background, it was fantastic to see a room dedicated to the design elements of a good range of her collections.

Balenciaga was more of a learning curve for me, and it was his very modern emphasis on structure and form that was a revelation to me. I immediately drew the green seed-pod shaped dress placed right at the start of the exhibition, alongside the Envelope Dress – both of which are so sculptural and playful.

They set the tone for what you realise is a hugely influential career, where shift dresses and babydoll shapes were initiated and became the standard for looking at volume. The upstairs area is dedicated to the influence of Balenciaga, showing how contemporary designers take his signature shapes and reinvent them in exiting new ways with ever-changing materials and processes.

Early on Balenciaga championed print, and the Abraham Textile designs led him to state that the fabric dictates the garment first and foremost – not only with his use of stiff silk in crating amazing shapes, but also the pattern and the way the fabric falls. The voluminous sleeves of this pink print dress could be straight from Warehouse’s latest summer collection…

This draped jacket is made using one piece of fabric – Balenciaga is also responsible for the cocoon shaped coats we were wearing a couple of years ago ( I still am!) also constructed from one piece of fabric and championed at the time by Diana Vreeland.

The designer was also influenced by other cultures, especially the kimono as can be seen here in the belt of this dress. The colours were fabulous, this exhibit also showed his favourite model -Taiga whose figure became the shape for his mannequin.

Embellishment and texture were also key points of interest for Balenziaga, he looked again at Far Eastern clothing, and you can see pattern , beading and in this fantastic jacket, some delicate pink feathered sleeves against glittery black – I didn’t have the right pink, but they must have looked so amazing when they moved.

The designer was Spanish and had stores in both Madrid and Paris – one of his most devoted wearers was Ava Gardner who lived around the corner from the V&A- she donated this damask dress when she died.

Hats were also a huge part of Balenciaga’s collections and the collection of millinery emphasises his sculptural eye. I loved this winged hat which looked very ‘Handmaid’s Tale’ . It made me think how clever the costumes are in that…’If they didn’t want us to be an army, why did they give us a uniform’.

Finally I went upstairs, and I think because I did so much drawing and reading downstairs, there are only two sketches – I loved the pvc tulip shaped mac by Nicholas Ghesquiere. Almost like a claret lipstick. In the words (almost) of Agnes ‘It’s so shiny I could die’.. that doesn’t really the follow the Margaret Attwood bit but never mind.

Also Gareth Pugh’s shearling biker jacket – using that amazing volume and shape. My colleague Gayle is a fan and I can see why – I think my pencil was blunt at this point! (It’s black- google Gareth Pugh AW13 and you’ll get a better idea).

After this I took some pictures of embellishment and print that I liked, especially Hussein Chalayan’s amazing ruffled confection.

Later in the summer a visit to Amsterdam gave me the chance to see ‘Modernism in Print’ which was great – it really opened my eyes to the work of designers such as Jan Tsichold; Dick Elffers; Ben Duijvelshoff; Wim Crouwel; Jan Bons; Piet Zwart; Karel Martens; Kees Nieuwenhuijzen; Otto Truman; Peter Duebele; Gerard Werners; Karel Suyling; Ben Bos; Gerrit Rietveld; Charles Jongesans and of course Dick Bruna (probably the only one I won’t have to look up!

Hansje van Halem was the closing modern designer who creates decorated papers, stamps and posters in the Victorian tradition ‘horror vacul’ where everything is loaded with detail.

Up in the Clouds

This weekend, Chris and I were very privileged to be invited to Marissa and Jayson’s wedding in Stellenbosh, Cape Town. It was our first proper weekend away from the girls, and a very grown-up destination too. The venue was Clouds Estate – a fantastic vineyard with views over the mountains. I tried to capture these in my sketchbook.

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The accommodation was amazing.

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This was our view at breakfast.

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On Sunday, we got the chance to have lunch at the neighbouring Tokara Vineyard. We sat and sampled the Sauvignon Blanc and Chardonnay over a very delicious menu…

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Chris snapped me sketching this…

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And then we tried 6 wines in the tasting room- this was a Swiss couple sampling some wines – there was also some amazing sculpture on the trail between the delicatessen restaurant and the tasting area.

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These trees were outside the gallery  – a special commission.

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The rabbits were part of the sculpture walk at Tokara.

 

And a final picture of the beautiful couple…

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Thank you Marissa and Jay for an unforgettable weekend x

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