Workshops

I have enjoyed the print technical workshops that have run alongside this brief. It was exciting to have a go at lithography and try the process, it is something I would like to try more of in the future. I also enjoyed copper etching and the actual process of preparing the plate and etching into it. I tried different marks and lines. Again this is something I would like to do more of in future projects. I also attended a screen printing workshop. I really like the possibilities of screen printing particularly onto fabric. I also like the bright vibrant inks that I can use to produce prints.

The above prints are from the workshop run by artist Meg Buick. This was a really enjoyable workshop which was fast paced, resulting in much work. I did produce further prints but I didn’t take a picture at the time and then they were left in the studio as we went into lockdown. I had never thought about working back into prints so this was an exciting process to learn from Meg. She encouraged us to make different marks and use colour as well as going big with the prints. I really like what can be achieved by monotype, this is a process I expect to revisit.

The collagraph prints above are from a workshop run by printmaker Katherine Jones. Katherine showed us examples of her work, some very large scale pieces which were quite inspiring. I picked up some good ideas for making a collagraph plate which were new to me and less time consuming than my previous foray into collagraph. Katherine also showed us chine-collé which was a process I had been wanting to try for a while. The print results were pleasing and I am excited by this process. I would like to make larger prints next time.

Further Inspiration

My main inspiration for this brief has been nature/plants themselves. From the structure to the colours and then the time I put into growing them and the rituals of their care. I’ve included a picture of a cactus from a trip to Spain as I will never, not stop to take a picture of plants particularly in their own environment (much to my families annoyance!).

The above pieces are both on a similar theme. Michael Landy took weeds from the street and produced a series of etchings. He talked about weeds being glimmers of hope growing and overcoming hostile conditions. I found William Arnold whilst reading an article on the Eden Project website. He is based in Cornwall and creates prints and cyanotype portraits of plants that he finds growing whilst taking a daily walk. His walk he describes as being on the outskirts of a small but rapidly expanding city. These artists got me thinking about how nature exists,quietly getting on doing it’s own thing, often without human intervention and overcoming inhospitable environments . I also keep thinking about the term weed a plant in the wrong place.

At the start of this brief I felt compelled to explore ideas around climate change and loss of environment. As I’ve got more into this brief I also recognise that their are some plants that will adapt and change to meet their needs. I went to the Greta Thunberg talk with my children and felt inspired by the younger generation and their passion for environmental change . I think that connecting with my immediate environment is something that is evident in my work. Caring and growing for plants has it’s environmental benefits but also I find it helps me to live in the moment.

More Inspiration

What I find inspiring about these images is how they have used the outdoors as the gallery. I’m really interested in the ideas of incorporating work into the environment, I also think that by placing artwork in these environments it has made it much more accessible to the public. I also feel there is something rather beautiful at viewing artwork in pleasing settings such as gardens or woods . I think it enables you to pause for a while and feel connected with the immediate environment. Luke Jerram’s Impossible Garden is one of my favourite exhibitions. I loved the playfulness and the ideas around visual perception, which incorporated parts of the botanic garden.

For this brief I knew I wanted to explore the colours present in nature. I like the way Bridget Riley puts colours together and the way these colours react with each other. I also didn’t realise until I attended her recent exhibition at the Hayward how much of an influence nature has had on her work. Similarly I like the way Sonia Delaunay (1885-1979) played around with colour and pattern something which I am looking at through leaf structures. I also like the abstract quality of her work. I like the following quote from her “Abstract art is only important if it is the endless rhythm where the very ancient and the distant future meet”. I also used Sonia Delaunay as an inspiration as I like the way she didn’t limit her work to canvas and produced clothing and textiles.

Inspiration

This brief I took onboard previous feedback to look for inspiration beyond artists that worked on the same ideas I was working on. Ive been inspired by fashion magazines and their shoots incorporating plants. I like the fashion label Toast’s ethos, and commitment to sustainable, slow fashion which is something I feel goes hand in hand with my ideas around this project. Similarly I’ve been inspired by local artist Natasha Clutterbuck. She is the artist in residence for the Yeo Valley brand, at their garden in Blagdon. (Which also happens to be one of my favourite places to visit.) I like her large gestural drawings. I also like that she sources her materials locally such as willow charcoal from the mendips. The idea of using natural materials is something I am very interested in such as natural dyes and something I wish to come back to.

I looked at Ellsworth Kelly’s plant drawings after discussing some sketchbook ideas during a tutorial. It was suggested I look at his linear work. I enjoy the way he used overlapping to add depth instead of shading. I found examples of Elena Barber’s work in a magazine I was reading. I like her gestures and mark making and was interested to read she reworks and recycles work from her archive.

Final sketchbook highlights

I felt inspired to look at creating some simple patterns. On the left I took some frequently occurring colours in nature and made a repeating pattern. I like the way these colours work together, my daughter said it looked like an ice lolly. On the right I carved a Lino stamp based on a sprig of lavender. I used a purple ink pad and stamped onto some calico. This gave me the idea of making some lavender bags from dried lavender. A sort of artwork for the senses maybe?

Looking at using minimal colour and making patterns and texture in a simplified way. Drawing a eucalyptus leaf from observation but trying not to overwork the pattern and texture. This was taken from my garden, I thought it was dead but hadn’t got around to removing it. On closer inspection it was showing new signs of life. Which then lead me to consider plants that come back from the brink or adapt to changing environments. Moving out of my sketchbook I began to think about “weeds” and plants that will grow anywhere.

More sketchbook ideas

Next I decided to take an even closer look at the surface structure of a leaf. I wanted to create a piece that was more abstract.

I wanted to use acrylic paint to simplify and break down the fittonia plants pattern. I enjoyed experimenting with colour and this is something I would like to do more of in future modules.

Whilst tidying the garden and carrying out some seasonal jobs I decided to utilise this hydrangea head. I like to leave the dry hydrangeas over winter as they provide the garden with some structure and added interest. I sketched the delicate lacy flower head it crumbled away in my hand as I observed it. The petals flooded the page of my sketchbook and quite organically I had the idea to stick them down to create a separate piece. If you look closely you can see their delicate skeletal veins, I like their familiar autumnal sepia colour.

A quick acrylic painting of a palm, using quick brush strokes to capture the leaves. Them a simplified linear drawing in pen of the same palm.

I then went back to pencils and sketched this prayer plant from observation. This plant was showing signs of decay. It was a case of killing by over caring. Too much water, too much moving around. Before I tried to nurse it back from the brink I drew the crunchy brown leaves that tumbled from the pot. There were signs of life however with a few majestic looking leaves displaying their distinctive feathery pattern. I used different marks to convey the textures of the plant. Sadly the plant didn’t make it, it limped on for a while before giving up.

Sketchbook ideas

Painting / drawing from observation “fittonia” or nerve plant.

I wanted to experiment with colour and pattern for this brief as well as pencil sketches. I began with observational work.

Line drawing of a Fiddle leaf fig.

As well as colour and pattern I have been looking at texture and lines. I kept this drawing quite simple, it took up two pages of my A3 sketchbook. I left plenty of space so the sketch could just be. I felt that adding more texture would overcomplicate it. I like to look closely at the leaf surface and see the structure of the foliage

Experimenting

These pages show some of my experimental ideas. I carved a mini Lino stamp based on a sketch and used an ink pad to create a pattern. On the opposite page I used different paper such as coloured tissue to create some mono prints. The tissue was delicate and prone to ripping but I like the colour. I also used a variety of pens to do some quick observational sketches of one of my favourite plants the pilea.

Curiosities

For this brief I wanted to explore ideas around nature. I had climate change on my mind and many thoughts on the Australian wildfires and the impact on nature and plant species. I also had ideas on how I connect with nature and how plants and caring for plants make me feel. I like the rituals associated with caring for plants the watching and waiting for growth and the changes in the season. I came across a quote from Bridget Riley in an article online from Ft.com and its really stuck with me “nature is much better than anything I can do.” As this body of work has progressed and the scale of the COVID-19 pandemic became more apparent my nature theme has become more important to me and some of my ideas have taken on a different meaning. During lockdown I realise how important nature and plants are to our wellbeing and health. As nature is such a wide theme I am focusing on the nurturing of nature and my relationship with the environment.

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The Journey Begins

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