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Showing posts with label woody goodness. Show all posts
Showing posts with label woody goodness. Show all posts

Monday, October 18, 2010

Sharing the love

inkhair

I think I've done my bit for the promotion of letterpress as a satisfying thing to do over the past couple of days.

Around the same time (give or take a day) that I was expounding to the printmaking audience at the National Gallery Print Symposium about the wonders of ink and type, New Zealanders were listening to me talking to Lynn Freeman on Radio New Zealand's The Arts on Sunday show. If you hit that link, there's a downloadable podcast of the interview. The NGA talk will be on their website sometime in the near future too, and I'll pass on that link when I get it.

Also, Print Big had around 900 visitors yesterday! Woo hoo! It helped that the weather was lovely and the venue is right next door to the Bus Depot Markets. I couldn't get back there until the exhibition was over, but the big monoprint that the public did looked FABULOUS.

monoprint

So we had to take everything down. Demolition, after such a frenetic creation, had to be demolished. Well, not totally -- we took apart the panels & it's now sitting in pieces outside my studio.

It went from this

final, rough

to this

empty

via this

byrd crowbar

and this

demolition

and this

Demo panels

with a little bit of this

minihole

and lots of this

swing

oops, look at the time -- have to dash.

Thursday, October 14, 2010

D-day for installation

stripes

byrd

That's byrd, doing his research on how to transform this

pants

into a pair of pants and a set of sneakers, coming in or out of our constructed demolition site.

Megalo rang this morning to say that the wall is ready for us, but I have to take the Aged Poet to the hairdresser, and byrd needs to do a bit of paid work, so we can't start until about 1pm. And then it's on, and we have a lot to do!

That top print is fabulous, but it's still wet, because it rained all day yesterday! This is going to be an interesting experience...

I will live blog through the evening, because I've done most of my slog. Now it's up to byrd, and I'll just be his paste-monkey. So stay tuned, and if you're really keen, check the flickr set for more.

Wednesday, October 06, 2010

PRINTing BIG

During dis

I keep talking obliquely about printing big and my upcoming exhibition with Megalo. I started really getting motivated today, and decided to document my progress in the same way I did for my NZ residency.

ink

So: a bit of context. Megalo, our fabulous, unique, community-enlivening Canberra print access studio, is moving premises, from its current (shared) location in Watson at the old Watson High School site to a very prominent heritage site in Kingston that will enhance its position in the local arts community: a short walk from the National Gallery and right next door to the Canberra Glassworks and the Bus Depot Markets.

On the weekend after next (15/16/17), the National Gallery of Australia is having its annual printmaking symposium, with the theme of MATERIALITY. If you're interested in any kind of printmaking, it's going to be a good thing to attend. Anyhoo, Megalo has the opportunity to use its new building before the actual move, and so is putting on a gala print exhibition in conjunction with the symposium, and it's called PRINTBIG. Artists taking part have had some teaching connection with Megalo: GW Bot, Robert Boynes, Julian Laffan, Mike Parr & John Loane, Annie Trevillian, Minigraff, Surya Bajracharya, Liam Garstang, and myself.

corroded pipes

There's a reason why it's called PRINTBIG: we are all producing printworks to be installed, mounted or printed onto walls that are 3.6 x 3.6 metres or 4.8 x 3.6 metres in dimension... eek! When I was invited, I was only a week or so from leaving for New Zealand, and I didn't have much time to think deeply, so my first instinct was to pick up the phone and ring my friend and casual collaborator, byrd, who scales up his work on a daily basis. I asked him if he'd do s formal collaboration with me.

Often my first gut impulses can be wacky, more often they are quite insightful in ways that I hadn't first realised. In this case, I sat down after the first rush of adrenalin and thought about working with byrd on a wallpiece. I also thought about why I was asked to participate in the first place -- I mean, I'm a book artist. I work quite small scale. I had a show at Megalo last year in which I used the space in an interesting way, and maybe that is what gave Alison (head honcho of Megalo) the idea that I could work with a large space here.

I love collaborating with people, whether they are present or absent -- I know that last word sounds strange, but when I work with text I don't just take the text and mould it into my shape; I research the writer, think about what they're saying, and try to enhance it or pair it with something sympatico, and if they have/had strong opinions, I work with them. If it's a full-blown collaboration, with full participation of all parties, there's a dance that you do to give and take your wants and desires with theirs (this is what I'm talking about at the print symposium, amongst other things). In the case of byrd, I need his experience with scale, and I wanted this to be more than just him helping my upscale my work. I wanted a FULL collaboration.

I rang a poet friend who lives in Qld, Angela Gardner (who is also a printmaker) and asked her if she had any spare words about, say, chaos or destruction, or societal breakdown or something similarly chunky and interesting. Angela is constantly writing interesting things, and I knew that she'd be up for a bit of textual wallplay. She sent me a long unpublished series of chunks about architecture, and right at the end there was a fabulous bit called Demolition, which I knew was perfect for gelling the wee scraps of idea in my head. Angela was originally going to come down for the symposium and have a play during the installation, but she's had to cancel, so we're just going to pretend she's standing behind us when we're working.

sketches
That's my pile of 'sketches', working out what the text means to me, and rough ideas of what I want to text to do. Byrd is doing his own undoubtedly more artistic sketches, of the imagery he and I will create together alongside and amidst the text.

I'm treating our wall as a page spread of a giant book, like a big textual billboard. I'm taking the words of a poet and using an artist to help me bring them to life. That's what I do with books and broadsides, and that's what I'm doing here, and that's how I'm rationalising working at this scale (so that I don't panic).

I did some printing in Dunedin on the last night of my residency, using their wonderful large woodtype letters, and some of their fabulous brown paper (that is so much better than anything I've found in Australia). I've got various bits of brown paper around the studio, and I posted back to myself all the brown paper lunchbags that the college gave me for lunches during my residency. And now I'm using my wood type to print the words I need.

brown paper

floor work

printed matter 1

I'm printing a few copies of everything, and working from the top down. It's a very organic process; I'm squeezing as much onto the paper as I can, and will tear down once they're dry. I'm working with the words in a loosely concrete style, using hand-rolling the paper surface to create meaningful texture, such as in the word breakages.

printed matter 2

Angela has, bless her, given us complete creative freedom with the text, so the formatting is totally up to me. I have given byrd complete creative freedom with my layout, and we'll be using collaged overprints, stencilling and graffiti spray to hopefully make it come alive.

rusted wire

The trickiest thing about this project is that we only have one night to install. The cubes (each artist in PRINTBIG has a side of a huge plywood cube to work with) won't be build until the afternoon/evening of the 14th of October, and the media launch of the show is on the morning of the 15th. So we're pre-preparing as much as we can, but it will be a big night, working in situ to get the piece finished. Which in itself is apt, since a chunk of the (visual aspect of the) work is about the scuttle of street artists to get into a fresh site at night before it disappears or gets totally worked over.

More photos (ongoing) here. I will try to keep documenting this, but as you can see, there's a LOT to do. It's scary, but this is to date one of the most exciting projects I've worked on.

PRINTBIG is only up for three days. If you can get to it, do... there will be live projection works, fabulous installed art (cross fingers) and also an audience participation piece, making Australia's largest monoprint, right over the weekend. Doesn't it sound terrific?

Thursday, August 12, 2010

Wrangling Les

So. I'm now editioning my second poster, and if I can finish it on the weekend, I'm well on track. It's a short poem by Les Murray, called At the Opera.

Here's my progress:

Opera start

This is the initial working out of what fonts suit the idea in my head, whether there's enough type, how it all fits together... which eventually turns into this:

Opera forme

Which is actually a lot later in the piece when I remembered to take a photo of the forme.

Here's the initial proofs:

Opera proofs

...and here is the final colour, a bit brighter than my initial mix:

At the Opera

I'm in love with this red, a mix of Warm Red and Rubine Red, and big snaps to the nice UniPrint people down the road who let me look at their Pantone swatch book for ideas, since I left mine at home. I'm also in love with the big wooden M, which is my attempt to evoke a faded but loved red velvet theatre curtain.

inking 2

This is inking from my viewpoint, and this is another:

caught in the act

taken in action by Donald the Special Collections Librarian.

And here are the sexy shots:

At the Opera (another detail)


At the Opera (detail)

Donald thought I might use this block to illustrate the word lorgnette, the central premise of the poem:

eyes in hand

But I decided to keep everything typographical, keep away from the readymade images, and make people do what I suspect Les Murray wanted people to do: go and look up the word.

Also, when I was planning this image, I'd been thinking that the whole series would be portrait orientation, that is, taller than wider. But in the staffroom yesterday having morning tea, it struck me like a thunderclap that it would work much better in landscape. This now means that at least one other of the posters will have to be landscape too, or this one will stick out in the series like a sore thumb.

Speaking of sore thumbs, look what this work does to hands:

battered hand

Broken nails, paper cuts, ripped cuticles, ink stains -- yes, that's the red ink Lady Macbeth look, and I do walk around the library rubbing my hands muttering 'out, damned spot', but I'm rubbing them with baby wipes, which rather undermines the drama.

My feet and legs hurt too, from so much standing. I discovered that there is a massage clinic at the local Polytechnic, and have written an email to them asking about availability. I've also discovered that my college has baths hidden away throughout the building, so I'm going to seek out the closest one and buy some epsom salts. It's hard to sleep from the aching of my muscles, but I'm hopefully toughening up a bit!

Wednesday, May 12, 2010

Coming soon

broadside peek: Space Invaders

broadside peek: Mario / Pacman ghosts

Coming soon to the Ampersand Duck website: four broadsides by my student resident Natalie Azzopardi. She's been working hard, splitting the one ration of Fabriano Rosapina paper into smaller piles so that she could work on a few different designs and allow herself to play with my orsum (the way I hear my son say it) equipment.

She's built up a 'Game Over' theme, and all of these figures have been painstakingly handset from individual metal type ornaments. The Mario broadside is particularly hard to reproduce, because his face and hands are embossed rather than printed with ink.

Aren't they cool? We're scanning them today, and they'll soon be up for sale on my website for $50 each plus postage and handling. These photos are just taken with my phone camera, so the scans should really make the colours pop.

Next resident, Peter McLean, will start working either in July, before I go to NZ, or October, when I get back from NZ. Either way, I can't wait to see what he does -- he's a printmaker who loves type and wood engraving, so I think his work will be a little bit more traditional than Natalie, who is a photographer who dabbles so well in the book arts & print that I think she should keep her practice broad and papery :)

Sunday, March 21, 2010

Exhibitionist

I don't know if anyone's noticed, but I've been steadily rebuilding my website, and I've even added a new Duckshop...

I've had a really busy weekend. Friday I drove up to Sydney to deliver some works to a group show I'm in soon. Here's the invite:

Paper Works

Just in case you can't see the image, let me tell you the deets:

Brenda May Gallery: Paper Works
23 March to 11 April 2010
2 Danks St, Waterloo, Sydney
Opening: 4 to 6pm, Sat 27 March

I'm very excited, I'm in exalted company, and I'm showing two pieces from my solo show in Canberra last year.

Unfortunately, I can't make the opening, because I'm going to a wedding at the National Gallery of Australia that promises to be posh and lush and unforgiveable to miss. But, if you're in Sydney, I hope you can pop your head into either the opening or the actual show in normal gallery hours.

I spent all day in Studio Duck today printing. Printing, printing, printing. Mostly printing bookplates for my mother-in-law as a present for her impending 70th birthday party, and then printing splash posters for another upcoming group exhibition I'm in...

3 Chords

3 Chords

This is the invitation I designed for the gallery after I printed the first proof of the wood type. I've been printing more of the text onto sheet music and newsprint to plaster through Canberra and the National Folk Festival, since we've timed the exhibition to coincide with the Festival.

Do come to this opening, if you're in Canberra (6pm Wed 31st March). We've got Dr Stovepipe playing, and they're a most excellent outfit.

Yawn... bedtime.

Friday, October 16, 2009

Country Show

country show

Yee haw!

Coming your way real soon, with a chook raffle that has the best chooky prizes you've *ever* seen (all proceeds to the RSPCA), an open- entry cake competition, and lots of good country art.

Poster made by me from wholesome chunks of wood type and metal type with a slick of rubber stamping. Printed on a Vandercook SP-20 press. Posters will be sold at the show.

Oh -- there are two versions of this poster. This one is called 'Woodchop'; the other is in pinks and turquoisey blues and is called 'Fairy Floss'. Each is printed in an edition of 10.

(This is what I did with my school holidays. It was printed on Miss Kitty, my 'new' press, and she did really well for her 'first' run.)

(This is also proof that undies-damaged wood type can still be used to good effect :))

Thursday, April 23, 2009

Poster printing



OMG they cut their own letters. Love it.

Via the letterpress listserver. If you're interested in letterpress, it's worth joining.

Monday, April 20, 2009

A week's worth of post

Wow, where did that week go?!!

It seems like every time I sit down with the intention of writing, an email arrives asking me to do something, or a real life distraction captures my attention. I think I'm only going to catch up by using the dreaded dot points...

-- Bumblebee was very excited about going to his grandparents last week. He kept himself busy for the ten minutes or so that we were in my (poor, under-utilised studio) with one of his favorite toys, the whiteboard:

yay board

-- And so went to Bega, where I discovered that Colonel Duck's new satellite internet connection is only marginally faster than his old dial-up, except that now their phone line is freed up when they're using the computer. So checking my emails took ages, and I just couldn't be bothered wrestling it to get a post through. So there went my resolution to write something deep and meaningful. Instead, I lost my self in Byatt, various trashy mags and op shops.

-- While in Bega, I persuaded the local museum (a.k.a. my mother) to formally lend me their wonderful trays of woodtype in return for an annual poster:

lotsa wood type

colour type

(If that last photo looks vaguely familiar, it's because when the trays were donated abandoned on their doorstep (as I've mentioned before), I was asked to help them sort it, and I took some photos that with a bit of Photoshoppery became my current blog header!)

The coloured bits are coloured because whomever used them last didn't clean the ink off their surface. Tuh. Still, very pretty, no? Anyway, I got them not a moment too soon, because they were dying in a dusty backroom, wrapped in plastic and going a tad damp and whiffy. Using the type is the best way to keep it alive, and I'm more than happy to use it for the benefit of the museum whenever they ask me to. Goodness, I'm so happy, my heart keeps leaping with joy at the thought of all that woody goodness, saved from a dusty death.

-- And then, still in Bega, I wandered into the Regional Gallery to say hello to Megsy in her bright new shiny job, and was pounced upon by Gallery (and Library) staff who had 'only just been talking about me the day before'! I was asked to give a public talk and a weekend workshop about artists' books and ways to incorporate them into an artistic practice, to coincide with this year's Meroogal Women's Art Prize. Wow, how cool is that! It'll be happening in early June, so if you're interested, I'll mention it again closer to time, or you can contact the Bega Regional Gallery for details (although they haven't been finalised just yet!).

-- STILL in Bega, it was Bumblebee's twelfth birthday on Thursday. I get a little lump in my throat just thinking about it, and impending doom as he hurtles towards his teenage years. He had a lovely birthday, wot with the archery set given to him by Colonel Duck (along with a target fashioned out of an old trampoline) and a long romantic silver velvet cloak given to him by myself and my lovely sister-in-law (from the Folk Festival, of course). He spent the next day or so dressing up and stalking around posing with the bow and long hours at the target, practicing his shooting (and getting better each time!).

The Silver Arrow, close up
Feeling dramatic and romantic...

The Silver Arrow, shooting
...undermined a tad by the green crocs. The day before he'd been in all-black, with black boots and the cloak, and wishing he hadn't cut all his hair off. But I forgot to get out my camera that day :)

The Silver Arrow
Note the target in the background. It was fantastic when he hit the centre, but if he hit the sides things got a bit weird.

He also made his own cake, with the help of Colonel Duck, since all the women had scarpered off to town to talk about important things like wood type.

birthday cake

They had a lot of fun with food colouring. The outside was yellow with myriad colours.

cake slice

The inside, as you can see, was red and green. We invited some friends over with their delightful children to share the cake (and the latest gossip) and discovered that the cake was actually really yummy.

We had more friends over for dinner, making our own pizzas in the home-made pizza oven, washed down with copious amounts of wine, and ended up in fits of laughter while B shot his arrows down the driveway with sparklers attached to the ends of the arrows. Kept him busy, kept us happy, and only one arrow lost in the dark.

-- Back to Canberra, to find that if the house wasn't cleaned very soon, my marriage was going to implode. So Saturday was spent channelling Annie.* The thing I hate about cleaning -- REALLY cleaning, not just giving the place a once-over -- is the fact that when you look hard at something you try not to look at, it grows exponentially. I wanted to vaccuum, for the first time in ages. But I thought I'd better clean the kitchen benches properly, so that if things fell on the floor, I'd get them with the vaccuum. And then I needed to wipe the shelves above the benches, and then I noticed the windowsills, which led to me cleaning the windows. I moved across the benches and picked up the toaster, which meant I had to clean the toaster. Oh, ecetera frigging ecetera. Finally, late in the afternoon, I managed to vaccuum, and then demanded that we go to the movies so that I wouldn't notice any more dirt. There was plenty around, but I knew that if I broke the obsessiveness, I could go back to just walking through the house blissfully NOT seeing.

-- So we went to see Good. And lo, it was good. And put me back into a mind for thinking about things I really WANT to think about, like memory triggers, and the way music can take you places you've forgotten about, or even into books you want to read.

Have I mentioned how much I loved AS Byatt's The Children's Book? Oh, how I loved it, let me count the ways. It's the book I've been wanting to read for a few years now. Stuffed with facts and references to an era that intrigues me, it is nonetheless extremely readable, and very hard to put down. It is set in the thick of the Arts & Crafts movement of the late 19th century in Britain and Germany, and takes you through to the end of WWI, over two generations. She is such a clever puss, she keeps the subject firmly in that time, but evokes such pertinent parallels to Babyboomers and Gen X as she does so. I can't really say more than that, since the book isn't released until next month, but I highly recommend it when you get the chance. I came out of that book in a spell which housecleaning absolutely trashed, and felt that I needed a voice of reason to snap me back into the world. I settled upon a re-read of Helen Garner's The Feel of Steel, which has formed an excellent buffer between Byatt and my next book, Tracy Crisp's Black Dust Dancing -- managed to get a copy today! Hooray!

-- On Sunday we entertained the still glowing newlyweds from Sills Bend, fresh from hanging out with obsessive Regency dancing obsessives. We love entertaining in the morning, it's when your friends are looking their best, all freshly slept and hungry. Best Beloved does a marvellous brunch menu of Eggs Benedict (or Florentine if our guests are vegos) followed by fresh coffee and cranberry crumble muffins (whole cranberries and a sweet crumble topping). It's pretty delicious. Zowen** came too, bringing as an offering an amazing mushroom/tofu baked dish with a zingy relish. Food heaven. Then I gave Laura & Dorian a tour of my still sadly-neglected studio, and then we went and mocked a lot of portraits for a while, which was excellent fun. I haven't had so much fun in a gallery since Fluffy and I mocked a whole heap of steel engravings in Melbourne a few years ago. Dorian decided not to take his faux top hat home with him (he would have had to wear it on the plane) and donated it to Bumblebee's hat collection, which made my young'un very happy, and it was in fact used today for his holiday learn-to-be-a-clown workshop.

-- And finally, there's only weeks to go until the opening of my bookbinding exhibition at Craft ACT. All the books are pouring in; I gave a pretty early deadline because I knew there would be stragglers, but also because I wanted to see the work properly before I started writing the room brochure essay for the show, and now we'll be able to install slowly and carefully. So I've been getting lots of exciting parcels, like this one:

parcel thonging

Bugger brown paper packages tied up with string; this one was wrapped in softly shining gold paper, and then a package tied up with soft leather thonging! very lush, and indicative of the gorgeous book within. I'll save that for a future post, when I can showcase some of the books together. How excitement!

When I first put the exhibition idea together, I fully planned to not only include the edition binding of Poems to Hold or Let Go, but also to create my own individual binding. But time and opportunity have rushed past, and I resigned myself to just being the 'provider' of the book, rather than a contributor in my own right. But the other day I unearthed a box of materials that I'd stashed, and came upon a stack of beautiful momigami paper that I'd made as a student. WIZZ! went my mind, and now I'm determined to make a special binding of my own. I think I've nutted it out; I'll document my progress and show you when it's done. And when I do, I'll tell you what momigami paper is. But for now, I'm posted out, and you've probably had enough too! Good night!





* Evoking the spirit of my late Grandmother, who was a dedicated and obsessive cleaner.

** The easiest way I know to say Zoe and Owen and their two sprogs.

Thursday, March 12, 2009

Can you hear my gnashing teeth from there?*







I'm tempted to buy a couple and take them apart. GAH!










*I wish I had enough money to buy out all these people in Australia with wood type...

Tuesday, February 24, 2009

brown paper packages tied up with sticky tape

Today I got a parcel. Hooray! Doesn't it look exciting?

parcel

(Please note the whiteboards in the background. They are the subject of an upcoming post. Promise.)

wrapped
Mmmmm... wrapped things. Things wrapped in bubblewrap. My favorite.

wood engraving tools
Mmmm... UNwrapped things! At the top is a roll of lovely paper: Maniro Diachi and Kozo Light, ten sheets each. From left to right: an Arkansas sharpening stone; three wood engraving tools: a spitsticker, a scorper and a graver; a roller, and, just to show Fifi, an wooden burnisher that I found recently at Walker Ceramics for the princely sum of $3!

I already have the wood engraving ink (as I use it to mix with offset ink to make nice stiff letterpress blacks), and one block (that I can also engrave the back of). Now I just need a source of good blocks (there is a fabulous one in England, but I'll save him for when I've practiced a bit) and I'll be off! I also have a pack of gummed label paper, because I'd like to make some ex libris plates (I bought it last year and used one sheet to make a whole stack of letterpress ex libris plates for my mother-in-law).

O wot fun!