#printoctober started for me with exploring print surfaces inspired by derelict buildings, specifically the Salvation Army Citadel in Sheffield. Mono printing, screen printing and exploiting accidental marks and after print. I am interested not so much in drawing the structure representationally but in the layers of the exterior and how eventually they will no longer exist.
Final piece (for Fellowship exhibition): Layered prints photocopied onto acetate
To resolve the format of these prints I colour copied them onto acetate and layered them together with a laminator; again wanting to represent the idea of impermance. A derelict building to many is an unnoticed thing, transparent until it is eventually knocked down or renovated.
Whilst being involved in sharing work via Twitter for the month of #printoctober I made links with the work of Sarah Wills Brown who shares a love for derelict buildings and surfaces. She agreed to exchange prints with me to see where that would take us both for the remainder of the month.
My work with Sarah’s prints:
These are the prints that I received from Sarah which were inspired by the exterior of a metal trunk. Using the theme of metal I tried rust printing onto the prints using a series of rusty locks/ hinges/ handles:
The next step was to look at the shapes on an old box that I recently acquired, hinges, corner fastenings, screw heads- and to collagraph these shapes onto the surfaces.
Mulling over the format that these prints should then take I decided to pursue the ‘Uses of Sorrow’ poem by Mary Oliver that has been stored in my creative waiting room since I first discovered it in the summer. I was intrigued by how the fronts of these prints had a dark patina and the backs also had marks, residue from the rust printing. I stitched the prints together and worked onto them as a sequence, intending to use one side for the first sentence of the poem, and the back of the prints to reflect the idea of light entering a box:
In playing with the format of the stitched book, I wanted to use the pages to create a series of boxes with various ‘windows’ cut through to let in the light; torchlight and candle light were used to illluminate through the various apertures:
Sarah’s work with my prints: