I have a new and improved shop that’s now online! Here, you can, or will be able to, purchase aquatint screens for the polymergravure process as well as small, special print editions.
What I’m really excited about is the small range of ready-made portfolio boxes that I’m going to start offering. These I’ll make in standard print sizes but without any stamping or customisation. For this reason they’ll be priced lower than my custom-made boxes but they will be one-offs, so once a box is sold, that’s it, it’s gone. So if you see one you like, don’t hesitate! As time goes on I’ll keep adding to the number available.
Another of the small shows that I happened upon was one in the basement archives of Tate Britain showing the work of Nigel Henderson. The Tate holds his archive of approximately 3000 photographs, made between the late 1940s to the mid 1950s in Bethnal Green, around London’s East End and the jazz scene in Soho. I wasn’t familiar with his work before, but these were beautiful.
Letter from Eduardo Paolozzi to Nigel Henderson — 20 September 1949
In this letter Paolozzi details the photographic enlarger that he would bring back from Paris as a gift for Henderson. (No way around the shadow, I’m afraid.)
This summer’s been a pretty good one, but school’s started and it’s time for show and tell!
In July we flew back to London to see our daughter graduate from Central St Martins with a degree in Fashion Journalism, while at the same time our son and his girlfriend were heading in the opposite direction to Denver, CO, to start new jobs. So proud of them all!
Thanks for the photo, Jo!
For the three weeks that I was in the U.K., London was in the middle of a heatwave. I’m well old enough to remember the heatwave of ’76, which is the summer everyone compares hot weather to, but this was far hotter in my mind. Most days were in the mid-80s with a few in the low 90s. And remember, buses, tubes, houses and flats aren’t air-conditioned… But it was a good trip, seeing lots of friends, lots of museums and galleries and having so much fun staying with our daughter and her boyfriend in their new flat.
There were several outstanding photography shows — Vanessa Winship and Dorothea Lange, both at The Barbican, Tacita Dean’s Landscape at the Royal Academy and The Shape of Light at Tate Modern. A small show of work by C.R.W. Nevinson, Prints of War and Peace, at The British Museum commemorates his gift of 25 prints to the museum in 1918. They span his time in the trenches of Flanders as a war artist during World War I, as well as prints of New York, Paris and London.
C.R.W. Nevinson — Looking Through Brooklyn Bridge, New York, 1921, Drypoint
Ed Ruscha — Parking Lot series
Alison Rossiter — Gevaert Gevaluxe Velours
After three weeks of family, friends, art and walking, all sustained by copious amounts of flat whites, I returned to Minneapolis and went straight into teaching a week-long polymergravure workshop at Highpoint Center for Printmaking. And if that wasn’t enough, the following week I was teaching Kerik Kouklis the process. Kerik travelled to Minneapolis from California especially for a one-day, one-on-one workshop, at the end of which he had made 3 perfect plates and about a dozen prints!
If you’re interested in learning the process, sign up for my infrequent email newsletter for details of upcoming workshops.
I’ve just finished printing my first broadside! The image was made at Sissinghurst Castle and hand printed in polymergravure on Somerset paper. The text is an excerpt from the poem Sissinghurst by the English poet Vita Sackville-West and written about her beloved home, Sissinghurst Castle in Kent, where she lived with her husband Harold Nicholson, a British politician and writer. It was letterpress printed in Garamond and Colonna typefaces.
Sackville-West was part of the Bloomsbury Group, a group of writers, poets, painters and artists who lived in or around Bloomsbury Square in London and who spent weekends in the country at Charleston Farmhouse, the country home of Virginia Woolf’s sister Vanessa Bell and Duncan Grant, both post-impressionist painters.
Besides my personal work there is another side that’s important to me – the commercial printing and related services I offer for other artists. Whether the work is for myself or for others I feel so fortunate that I get to do things I really love. So thisnewsletterhighlights a couple of projects that I’ve been involved with, details of another upcoming workshop and some magazine coverage for Otherworld.
Much of the work over the past few months that I’ve been involved with has been making custom portfolio cases and so, with their permission, I thought I’d highlight a couple of those projects.
Detail of the debossing.
PLAINS is a project that I’m still working on and involves an edition of five portfolios. Each 12 x 15 x 4.5” clamshell case holds 58 gelatin-silver prints, beautifully hand-printed by the photographer, Peter Latner, and a title, statement and colophon pages. The prints are dry-mounted onto debossed museum board and the cases covered in Italian book cloth.
This case I made with photographer Lisa Nebenzal to hold both a suite of prints and eight of her constructed photographs. The case measures 13.5 x 19.5 x 4” with a set of removable dividers and a panel to separate the prints and is finished in Cadet Blue Japanese book cloth with matte gold foil stamping.
UPCOMING POLYMERGRAVURE WORKSHOP
I’ll be teaching another polymergravure workshop at Highpoint Center for Printmaking in Minneapolis soon, so if creating hand-printed editions is something that’s always interested you, then keep an eye on their website for registration details towards the end of January.
And lastly, my series Otherworldis featured in the latest online edition of Square Magazine. It’s free and available in several digital formats here.