I’ve been able to push through the (many) failures in experimentation and refine processes. For example, with my new ‘fragments’ works in porcelain, I’ve finally created a ceramic-friendly printmaking ink that can both withstand the act of firing in the kiln, but also have the same feel and quality as a regular printing ink on my etching plates. That in itself has given me more confidence to just keep going – or as Hertha said to me two years ago “to get on with it”.
The residency (in the beautiful space upstairs) gave me time to immerse myself in creating a series of prints that have since been gleefully unfolding. The ‘grid’ series started upstairs playing with some subtle colours (and as always black and white has since crept back in), but I’m excited with this “colourful” addition to my studio practice.
Two years later, I’m appreciative to have some works hanging alongside artists I admire, and love seeing the diversity of printmaking techniques pushing boundaries in PPP19.