The current design I am working on is one based around Grevillea rhyolitica – or the Deua Grevillea which is a grevillea endemic to south-eastern NSW. this has long been a favourite Grevillea of mine to photograph especially when visiting the Eurobodalla Botanic Gardens near Batemans Bay NSW. It has beautiful delicate falling red flowers.
In my more recent work I have been pushing my drawings and interest in Australian wildflowers into design/patternwork. Taking my drawings and simplifying and expanding them, I have been playing with various ideas for Grevillea rhyolitca for about 12 months now. In this particular work I am playing with positive & negative spaces and imagining ways to play on the shapes and patterns of the original plant & the photographs I have taken of them over many years.
I am hoping to revive this blog using some of my Instagram posts. In recent busy & more demanding times I have found it hard to keep up with this blog in amongst everything else. But Instagram has been a more immediate media to display my work and inspiration. I also value the platform as a way to connect to others & in particular to other artists & printmakers.
This image shows my template for the linocut which I have traced alongside the new piece of lino which I will transfer the design to using tracing paper. Oh & one of my photographs I have taken as inspiration for this this particular artwork.
I was asked a little while ago about my the ‘series’ or ‘collections’ of works that I like to create, which got me thinking more about why I like working this way. My main motivation at face value was pretty simple – I like to create several smaller works that can be hung or presented together so they can be seen individually or as part of a larger multi-work artwork but I think there is perhaps a little more to it than that simple explanation.
When I was beginning my exploration of the linocut/relief printing medium for my artwork I was very conscious of what I see as the strong influence of Margaret Preston in the medium of linocut/woodcut & wildflowers. She created a vision for linocuts & wildflowers which has had a profound impact & influence on many artists working in the medium of linocuts. Many linocut artists have continued to work within the influence of still-life or wildflowers in vases but I made a conscious choice to not take this path. So I deliberately put away any images I had of Margaret Preston’s work, and in fact any images of other linocut artists particularly those who used Wildflowers as their subject matter. I wanted to explore & develop my own vision. I have a deep love of wildflowers in particular & they are my passion within my artwork. I love to explore not only the endless variety of Australian flora but also explore different ways two represent them within my artwork.
I have always worked hard at my drawing skills which underpins my linocuts, and I made a deliberate decision to study drawing alongside watercolours with some traditional water colourists.
I spent a few years attending workshops including with the wonderful artist & teacher Tom Offord. He was a regular tutor at the Grafton Artsfest & I attended several of his workshops, alongside other tutors – Jenny Macnaughton (watercolours), Jocelyn Maughan (drawing), Robin Norling (drawing) & Gillian Scott (botanical art). I wanted to develop & refine not just my own vision as an artist but also my skills base particularly in drawing & working with watercolours. It is interesting that watercolours was never taught at my art college back on the 1980’s & was frowned upon as ‘too traditional’ which is a great shame. I have however used the skills I gained with watercolour classes & workshops within the handpainting of my linocuts and within my drawing/illustration work.
I find I like to at times set myself a challenge within my arts practice – to work within a particular ‘frame’ or design/layout for a particular work or set/collection of works. I often explore what I think of as ‘windows’ – windows both of design & vision for exploring & representing wildflowers in particular. So I create these ‘frames’ and then set a challenge to explore how I can capture some essential essence of the wildflower (or wildlife) within that frame for window.
I push the parameters of the actual frames so that the wildflower is both contained & breaks out of the ‘frames, you can see above. An example of pushing the image beyond the frames can be seen in these two rainforest images of a Golden Penda and Firewheel Tree.
I also use ‘series’ of prints to create images for my wildflowers cards.
In some of my new work which I hope to move into in 2014, I am pushing some of the limits of these frames & my passion for wildflowers into new areas of visual exploration.