Although I've made etchings and wood engravings over the years, I haven't made lithographs since I was at Camberwell in the 1980s.
The new process of working on transparent acetate makes it possible for me as I no longer have to imagine colour to colour, which you did on stones. The challenge of experimentation is intrinsic to the production process; not to be confused with skill, a willingness to test ideas in practice is essential. As with painting, sometimes it helps to let the work ‘rest’ before approaching it again with fresh eyes.
The print images come from my drawings from films. Those in this series come from ‘8 1/2', Fellini and 'Mirror' by Tarkovsky.
I treat drawing from film as drawing from Art, which I do constantly. Feeding off another's eye and seeing the world as they do for a while. Fellini and Tarkovsky were two of the 20th century's greatest artists and I've always looked to them for visual inspiration, the same way as I've looked at Veronese or Titian.
Paupers is a wonderful print workshop making some of the
very best of contemporary prints and has seen many a household name of the
contemporary art scene come through its Shoreditch doors, since its
establishment in the 1980s. It holds an
illustrious position in the forum of specialist fine art printmaking, working
directly with international galleries, artists and publishers on diverse
etching, printing and lithographic projects.
Surrounding me here as I write this are Grayson Perry's huge new
woodcuts of the bear.
Artists of all disciplines engage with the traditional methods of printmaking at Paupers, exploring the nuances of layering broad colours, delicate tones and descriptive lines to culminate in cohesive works; while developed through some degree of mechanical process, the end result feels far from manufactured, with the artist’s spirit as vigorous as ever in print.