www.printmaking.eu/From top-Distant Birds (Screenprint 40 x 28.3 cm), Stages of the print as it was developed, The screen at various stages in the making of the work, Materials used.
Double click images to enlarge.
PRINT! La Cambre is a collaborative printmaking show to be held at the École nationale supérieure des arts visuels de La Cambre in september 2015. It will show printed works from students and staff from ENSAV La Cambre, Central Saint Martins, the Royal College of Art and the Royal Academy of Fine Arts Antwerp.
The print I made for PRINT! La Cambre was created using a reductive process, more commonly used in relief printing. The image is made from a single screen. Each successive layer is drawn or traced onto the screen and filled with screen filler. The filler creates the non printing area’s of the screen. Each new layer is darker, though not always, than the preceeding one and is printed with a translucent ink made up of screen medium and black and silver black graphite powder. The graphite gives a grainy, metalic quality to the ink and as with all glaze’s is hard to predict exactly how it will actually look when printed! The Ad Colour screen medium gives a gloss finish, as well as a plasticity to the ink which can create a raised, textural surface to the print when printed through coarser mesh screens.
Statement for La Cambre “PRINT!”
1: Paul Dewis
2: Title of work. Distant Birds. 2015. (40 x 28.3 cm)
This work is part of an ongoing series of prints and paintings. It is essentially an examination of distance. Re-presenting the far as near.
The original source material for this work was a series of phone photographs I’d taken of herons in a far off tree, the subject initially only very small detail of the image. The photographs were reframed by digitally zooming in and cropping. Zooming, cropping and reframing brings the subject nearer, yet at the same time creates ambiguity through offering up no real new information or extra detail due to the image becoming degraded in the process. I often use low quality cameras, phones and screen grabs to accentuate this quality, often rephotographing photos and monitor images from one camera, phone or screen grab to another.
The loss of clarity and sharpness opens up space for an approach to re-present the image, in this case through systematic layering. The glossy, raised, tactile surface quality of the prints is important in trying to create both a screen and potential barrier to the image.
Luc Tymans has talked about creating distance from the subject as a way of being able to reapproach it. He has descibed the zoom and zooming in as a point, ‘where you find the notions of distance and approach simultaneously confronting the image’.
4: Technical information
Screen printed using graphite powder with AD Colour medium.
Edition of 4
Printed on Fabriano Artistico HP Extra White 640 gsm
Paul Virilio’s ideas around space and the compression of distance have always resonated. Specifically his statement, ‘we no longer seek to see, to look around us, not even in front of us, but exclusively beyond the horizon of objective appearances’. Virilio, P. (2007 p. 5).
A lot of my recent subject matter has literally been whats in front of me and at my feet.
Anton Ehrenzweig’s ideas around the syncretic, as opposed to a gestault, way of perceiving has very much influenced and articulated the effect I want in my work. A meticulous, systematic approach yet with a sense of overallness. Ehrenzweig describes the syncretic as a way of looking that, ‘takes in the entire whole which remains undifferentiated as to its component details.’ Ehrenzweig,A. (1967. P.6)
Ehrenzweig, A. (1967) The Hidden Order of Art
Virilio,P. (2007) Art As Far As The Eye can See.