Four

i. I stumbled upon a book of woodcuts by Phillip Sutton during a spare hour in the library. Sutton's woodcuts are either made directly from life or by cutting up the woodblock and rolling and inking each piece separately in strong saturated colour. I want to have a similarly playful and celebratory approach to making art - worth considering if I continue with the woodcut.

Phillip Sutton,  Untitled,  1965

Phillip Sutton, Untitled, 1965

Phillip Sutton,  Green Nude,  c.1967

Phillip Sutton, Green Nude, c.1967

ii. I attended a talk by Michelle Avison, artist, head of the printmaking department at Morley College and founder of Slaughterhaus Print Studio. Michelle talked about her own practice of repeatedly looking at, and working from, the same landscape. She used several phrases to describe her work and practice that resonated with my own (see notes below).

Sketchbook, 2017

Sketchbook, 2017

iii. This week we had another superb lecture by Paul Coldwell. He described how in painting the canvas immediately bears the gesture/mark of the painter, but in printmaking there is always an intermediary which we call 'the matrix' (often, but not exclusively, a printing plate). Coincidentally, Paul focused most of the talk on the woodcut. We were shown artists such as Tony Bevan who wrestles with the physical roughness of found wood, Munch who would cut his woodblocks into several pieces to print several colours at once, or Thomas Kilpper who creates unique site-specific woodcuts from the floors of entire buildings. Paul urged us to consider the matrix as we explore various processes at the beginning of this MA. Finding creative and experimental means of exploring the matrix is definitely an exciting challenge.

 
Edvard Munch,  Two Women on the Shore,  1898

Edvard Munch, Two Women on the Shore, 1898