Unfortunately I had a period of illness where I was not able to do anything physical, so the practical work had to take a bit of a back burner. At this time I decided to look closer at the elements of design, particularly the use of colour.
I had downloaded a phone app “Palette” which helped me analyse other artists’ colour palettes. This was a useful exercise in that I realised my preferences are towards colour harmony and a use of a limited / monochromatic range. This programme provides me with a very quick way of analysing colour, allowing me to use a range of subjects as inspiration- images from nature as well as other artists’ work. This will help me have a more considered approach to using colour in the future.
I wanted to keep going with my little girl print because I felt I hadn’t realised its potential. As a nod to Dada I decided to incorporate photographic images into the piece. By flipping the photo I was able to produce a design which suggested absence and referenced the contemporary artists I had previously researched.
To create the chine colle I printed onto Japanese tissue paper in the digital printer by wrapping the tissue over a sheet of A4 copier paper and attaching with double sided tape. As the ink is not pigmented I am aware this will fade in time, but that fits the theme anyway. I knew that the ink would run if I added water, so I used the dry chine colle method and prepped the paper beforehand, with the belief that the glue-backed paper would stick to the damp paper when printing.
When feeling a little better I was able to print. Unfortunately the paper did not stick to the paper when hand burnishing- there was not enough pressure or dampness to the paper, so had to resort to spritzing the tissue with water then moving it onto the lino. There were many failed attempts but I eventually got one print to work.
As a reference to Emily Dickenson’s poem “Pain has an element of blank” (Dickenson, 1924a) I incorporated a subtle monoprint with these words obliquely written in. These words do not read correctly, and just offer a little bit of visual texture. I had run out of tissue chine colle pieces however so couldn’t do anymore and needed to progress with the course. This was the best version produced.
After looking into research around chine colle and collage, I wanted to develop the print further by adding head shaped tissue, referencing Agar’s silhouette collages and Sheridan’s chine colle prints, in which different shapes added completely different effects to her prints.
In my assignment 3 feedback, my tutor recommended I experiment with overheating the lino to create crumbling marks, which I chose to employ here. Incorporating different shapes of chine colle tissue created a new dimension. This was a useful exercise.
I decided to apply a head shape to the girl print. This added intensity and drama. My thoughts turned to ideas around memory and layering. I started to realise a lot of my work is related to this subject matter- being haunted by memories.
Initially I was playing with ideas in my sketchbook. I had a design which incorporated pressed flowers. Unfortunately this idea did not work in practice. I think to do this I would have needed access to a press, because the petals split up when burnished and didn’t stick effectively.
I had been reading about war ephemera and contemporary artists whose work connects. In her Imperial War Museum cynotypes, Annabel Dover uses pieces of clothing that have personal associations to her grandparents and their links to WW2. Through the technique she has presented the memory of objects.
I was inspired by this and considered my gelatin plate- when objects are placed on the surface they leave an impression- the memory is stored and then transferred onto the paper. My tutor had recommended I revisit feathers after her feedback in assignment 4 and this was an opportunity to do that. I also played around with text on a lino block and pressed this into the plate. These created some interesting textures that I could use as my chine colle.
After a lot of trial and error and managed to produce a couple of reasonable prints. I find it difficult to get a perfect print without a press because the damp paper wrinkled a little when burnishing.
I did consider taking further and adding backdrawing after Giacometti’s portraits but decided not to in the end.
Technically I struggled with this part of the course, I know my prints are not perfect but I feel the ideas are stronger conceptually and I am beginning to understand what direction I want to take my work in.