Tag: Gelli Prints

  • Collage Breakthrough course

    Collage Breakthrough course

    At the start of every year I do an online art course, this year I’ve chosen Cat Rain’s Collage Breakthrough course. I’ve been doing collage for 20+ years; there’s always something to learn, and forced action increases gaining momentum.

    As with any course, I won’t talk much about the process, because that is their intellectual property. Instead I’ll share my discoveries.

    We started by making collage papers and I used the gelli plate. We need a mix of plain and patterned. I used my favourite stencils and, based on Cat’s videos, decided to make some patterned papers using a brush for mark making.

    We made grids of small collages, using two papers each, based on her guidelines. My first set was in a warm palette and I quickly realised I had light & mid tones, but no real darks. Also, the warm colours weren’t speaking to me. I made a new set of papers using blue and purple, mixed with black and white.

    I made my first grid of 6 collages using the new cool papers, and straight cut edges, which is what Cat had demonstrated. Then a second set of 6, with torn edges and more organic shapes.

    The next lesson was larger pieces, using 3 papers each, and I didn’t even bother using straight edges.

    What have I learned or remember so far?

    • I prefer torn edges, more organic shapes.
    • I prefer a cooler colour palette.
    • I’m more likely to reach for stencilled papers than ones with organic mark making.
    • I don’t always use enough tonal contrast in my work.
  • Talking process with another artist

    Talking process with another artist

    I’ve been talking today with Pen Kirk who I’ve been creating collaborative art with for a number of years now. Pen is exploring resin at the moment. I won’t try to describe her process, that’s her story to tell, but she’s happy for me to write about today’s chat.

    Pen commented “I think that’s part of my process. Learning my way through and making at the same time”. She said “Interesting aspect… I really like to have to sand them right back and then shine them up… which means taking multiple steps through grit 150-10,000”. When I asked if it was about the physicality of the process, or transformation, she was clear straight it’s the transformation.

    When we explored further Pen commented her process is about adding, taking away, and adding hidden aspects. She said “It’s just too bloody easy if you don’t go through all the steps and (it) has no meaning. Like a person with no souls, who hasn’t experienced”.

    Like Pen, my art is process driven. For me, it’s about connecting random parts to create meaning and visual harmony. This morning I randomly glued bits of collage onto approx 30 pages in a small Fabriano art journal. Then I go back and use the collage as the start of pieces, using paint, water soluble media, pencil, and oil pastels.

    It’s rare for me to work on a piece from start to finish, or to start with the end in kind. Working on one piece at a time makes it feel precious and creates anxiety about messing it up. Working across multiple pieces brings me freedom to just do what I feel in the moment. That doesn’t mean there’s no thought in it, but it does mean I’m not super invested in each piece of paper.

    Below you can see some very quick photos of a few pages I collaged onto this morning, and a few finished pages, which might not be the ones I started this morning.

    L to R – cheap harder oil pastels, Stabilo Woody, soft Sennelier oil pastels & soft pastels, Neo I and II crayons, pencils.
  • A surprise in the mail

    In October & November I had work in the Awagami International mini print exhibition in Japan. I received a highly commended and the work, Summer nights in the New Zealand bush, sold.

    Yesterday I came home to a package from Japan – a lovely certificate, the exhibition catalogue with my name listed under Juror’s Choice, a letter and some beautiful paper to print on.

    The exhibition had 1,067 artists from 58 countries enter 1,524 works and over 1,200 people visited the gallery. I’ll be entering again in 2027.

  • Gentle steps

    Gentle steps

    In my last blog post I said I was pleasantly surprised by the desire to create so soon after Tony’s death. I’m still creating, taking it gently but feeling good about it.

    People ask how I am … I’m ok. Am I great? No, but it’d be a bit weird if I was. I describe it as appropriately sad. The sadness comes and goes – after 33 years together, and all the years of slowly losing Tony, that feels ok.

    So I’m being kind to myself and creating with low expectations, doing what I feel like in the moment. I’m feeling inspired by Welsh castles, a theme I return to semi-regularly, often accompanied by masts, swords and what’s probably blood. It is what it is…

    In these current works, which are about A3 size, it feels important to work in overlapping layers. Why? I don’t know yet, but I’m happy to trust the process.

    I’ve also been doing some gelli printing,

  • Printing with lace!

    Today I popped into Ethel Anne Antiques in Hāwera in search of more old music books, as I’ve had so much fun with the ones I got a couple of weeks back. I bought some but, even more exciting, are the old lace doily.

    I knew straight away they’d be interesting on the gel plate. Sure enough, they were. The heavy lace one isn’t much use, but the finer ones are amazing. I used mainly Golden Fluid Acrylics and Hahnemuhle Sumi-e paper to print on because it lifts the prints beautifully. I definitely prefer the softer colours for these over the brighter ones.

    I’m not sure what I’m going to do with these yet. I’ll probably use them as collage in mixed media works. I’m tempted to create some multi layer prints that are complete in their own right.

    Here’s what I have done so far, including a couple of close up shots.