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contemporary printmakers in Wales | ||
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Chris Lloyd | Sue Hunt | Tom Piper | ||||||
Annie Giles-Hobbs | ||||||||
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Alf Löhr | ||
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click the thumbnails above for a larger image | ||
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 | Annie Giles-Hobbs Untitled Layers of monoprints and hand made papers delicately stained and coloured form the basis of this image. I create the monoprints by applying printing ink to a flat surface and transferring it to the paper. The working surface is cleaned off and reworked with new colour to take a second impression. This is repeated several times until a depth of colour reminiscent of paintings by Giotto is achieved. Tearing these papers I overlay and assemble them to create an atmosphere evocative of Romanesque wall paintings and pentimenti visible through overpainted areas that have become transparent with age. Heads emerge from this complex surface. They gaze out obliquely and all knowingly. They are the natural focal point of the human dramas which in reality have remained timeless. | |||
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Sue Hunt found image Quite by chance I spotted this object, the top end of an old discarded box and I was drawn to it immediately. I have changed it a bit, introduced a couple of images, changed colours, to make more of an intervention, but really I am drawn to the enigmatic feel of the image as it is. I like the artless, practical intervention of the plastic tape across the whole image, the inky fingerprints, the composure of the figure staring quietly out. Sometimes I think its me. | ||||
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 | Tom Piper Sunday/Monday Sunday/Monday is a sketch of a walk on a late Sunday afternoon, early October 2002. The selection of leaves, wrappers, bark and tickets were chosen for their colour and surface characteristics. The creation or assembly of Sunday/Monday was as random as possible; similar to the way the pieces originally fell into the street or gutter. Deliberate intervention was used near the end of the process. Sunday/ Monday was scanned at 300 dpi and is printed actual size. The image contains no post-production manipulation. | |||
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 | Alf Löhr Instruction of how to make a feeling look right The collage came about by soaking up a puddle of water and pigment that was sitting on the table. When the water had evaporated from the paper I took a line for a walk with some red ink, but the monoprint and the drawing did not sit together well, so a layer of long white strips of white paint crossed over the page with the authority of a brush and the force of geometry. They combined it alright but soon you could see the lack of life. Then a sheet of see through plastic onto which some paint had dropped and run by itself simply with gravity, came along. Once it formed another layer the red ink underneath felt terribly important in the gathering of white lines. Red scribbles with a felt tip on the white made the connections. When a knife scrapped, revealing fine lines of nothing into the mark, it looked right. | |||
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 | Chris Lloyd Urban Space "The first explorers of Earth had long since come to the limits of flesh and blood; as soon as their machines were better than their bodies, it was time to move. First their brains, and then their thoughts alone, they transferred into shining new homes of metal and plastic. In these they roamed among the stars. They no longer built spaceships. They were spaceships.” And so a mundane collection of printed ephemera is transformed into something like these machine-entities and the space through which they travel: a galactic plastic carrier bag on which cuttings from catalogues of car spare parts, children’s toys, and self help medical remedies explore the very interstices of the universe. Quote from 2001: A Space Odyssey by Arthur C. Clarke | |||
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