Gallery
Lurgashall, Even
Lurgashall is a hamlet so tiny it was overlooked in the Domesday Book of 1086. The etched image at the top is a photograph of an approaching storm to the village taken by my daughter. The butterflies to each side are extinct UK species from the collection at the Booth Bird Museum in Brighton. The screenprinted bottom section contains a list of some of the uk vertebrates and invertebrates and their year of extinction. The silhouettes of trees at the bottom are species under threat. However remote your location, the consequences remain the same.
News From The Critical Zone
In an edition of 5 (4 of these boxed) with one set of artists proofs and a set of printers proofs (boxed).
The Critical Zone is how the French Philosopher Bruno Latour describes a narrow band just a few kilometres above and below the surface of the earth where all discovered life in the universe exists. Shrinking the infinite cosmology of Galileo in this way Latour underlines the fragility of life on earth
These prints reference climate change through images of glaciers and icebergs and each print features a species lost in the UK with the date of extinction
Hope lies in the map of the Knepp Estate, the largest rewilding project in the UK, a background behind two of the prints.
The Black Veined White lies in the Ashmolean Museum’s collection of RE prints
Look On My Works
A pair of screenprints.
The title Look On My Works from Ozymandias (an alternate name for Ramses II) by Shelley, refers to a crumbling sculpture found in the desert and is a meditation on the fragility of human power in the face of nature.
Each print references climate change in the shape of an iceberg, combined with an image of the natural world in all its beauty and power. An erupting volcano in Chile and Florida Keys from the air.
Look On My Works II is in the collection of 2020 R.O.C, Taiwan.
The Seven Seas
A series of seven screenprints and one pigment print in an edition of 10 of which 5 sets are boxed.
These prints document cropped sections of the surface of the seven largest bodies of water on earth and explore the way a dot free delivery of transparent colours can describe the fluidity of surface through the binary nature of the screen process.
None of these images were in any way enhanced through photoshop and they present an accurate description of how the Oceans should be. Looking below the surface and on the beaches a more dystopian vision of coral death and plastic pollution led me to make the series Look On My Works and News from the Critical Zone.
One box set lies in the V&A prints and drawings collection.
Tromba Marina
These prints were made from a water spout I photographed tracking the horizon. The screenprinted lower half is a conventional 4 colour half tone. The etched top section a frame from this run as an enlarged half tone or line conversion. Match them.
These prints were prize winners at the Neo Print Prizes.
7.16 (Norwood Junction / Cayo Leviso)
On the train down to Brighton from London I spotted and photographed this strange cloud. At the exact time on another day I had seen my first waterspout. It felt like a meaningful coincidence.
This print was exhibited at the RA Summer Show, Royal Academy.
Waterspout Advancing
This print explores the time line of an approaching waterspout through the distinct and separate qualities of screenprint and photopolymer etching.
Dust Devils
This pair of prints explores the language behind the print process in delivering the image through digital and analogue outcomes.
Air/Fire
The 4 plate etching part of this print was editioned at St Barnabas Press with Richard Hill on a wonderful ancient wooden press that Rembrandt would have recognised! The second top section was subsequently screenprinted at Volcanic Editions.
This print is in the Prints and Drawings Collection of the V&A.
La Notte Segue il Giorno
(Night Follows Day)
After James and I had editioned the four plate etching in Air/Fire, inking each plate separately in the process colours, cyan, magenta, yellow and black, we spent a day experimenting.
Multiple colours were inked and wiped on each plate except on the final black and this teased out a fresh interpretation from the original material.
Tornado Weakening
Most printmakers try their hardest to avoid the moiree pattern that indicates a screen angle clash between the layers of the 4 colour separation process. This print celebrates that outcome,
This print was shown at the International Print Biennale at Newcastle
Magma Pool Series
Originally printed for Magma, Millimetre: Project Site 01, House Gallery, London a show curated by Finlay Taylor in 2011. These prints have been exhibited in several Mini Print shows including the Miniprint Kazanlak, Bulgaria.
Natural Disaster: Variant IV
Originally a set of 3 screenprints in an edition of 40 but the medium dot structure prints have since been destroyed.
Natural Disaster Variant IVc was prize winner at the Climate Change show Rhyll.
Natural Disaster
A series of 3 large prints proofed at Camberwell for my final MA Show in 2009.
A proof of Variant I is in the prints and drawings collection at the V&A.
These prints were also shown in the International Print Biennale, Newcastle and numbers I and III in Volcano: Turner to Warhol at Compton Verney.
From Land, Air and Sea
A set of three prints. Air was a prize winner at Originals 10 (the St Barnabas Press Editioning Prize).
