This Saturday we had our first stall at the Port Fairy Community Market in Railway Place. It was lovely to speak to people who seemed genuinely interested in the different printmaking processes, some of whom remembered linoprinting from high school days. I was very pleased to sell several of my collagraphs and two more “Upwelling” prints. There are only five of twenty left in the edition. I was delighted to sell one of the prints to a newly married couple for their new home, so I hope they get many years of enjoyment by having this work on their wall. I will need to get busy for the next market in a fortnight’s time, so I have more prints available.
“If the world could remain within a frame like a painting on the wall, I think we’d see the beauty then and stand staring in awe.” ~ Conor Oberst
Don’t images look so much better in a frame? A mount creates quiet space around the image, allowing the eyes to focus on the artwork. In a very active print such as “Upwelling”, a mount and frame is vital for balancing busy and quiet areas. This image was created for the Portland Upwelling Festival in November and I made an edition of 20. Unframed prints (image size: 30 x 40cm) are available for $80.
“I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page.” ~ Alan Lee
I do enjoy the dynamic nature of watercolors; the way the color moves and changes as the paper dries and the lovely transparency they give to an image. I also like the variety of effects that can be achieved using different techniques – wet-on-wet, wet-on-dry, blotting, sprinkling salt etc. I still have a lot to learn to be able to create the images as I envisage them, but I’m having a lot of fun in the meantime.
Some watercolour artists I admire are Stefan Gevers, Natalie Martin and Guy Troughton. Stefan Gevers paints nature and landscapes without any human impact, often in a very minimalist style. Martin paints Australian flora also in a minimalist, contemporary style and Troughton has a wonderful series of photo-realistic native birds. Linda Blackburn is a local artist who paints flora and nature in a beautiful delicate and impressionist style.