21 : Global Studio, Bluecoat, Liverpool 2010
Aspects of contemporary printmaking, graphic processes of communication
Global as a concept is not necessarily about nationality, geography
or place but more a question of attitude, a political commitment,
a strategy and ambition to explore significant social and cultural
questions through creative practice, dialogue and forms of communication.
Over the last ten years the landscape for the creative practice
of Printmaking has changed, the advent of global communication
has enabled much greater international collaboration and for
a wider community of Printmakers across the world to be connected.
Printmaking, both in its message and its production, has always
been primarily a democratic and collaborative process. These
factors have allowed printmaking to quietly gain a more pivotal
role in mainstream contemporary art practice.
Pete Clarke has selected artists from various international
networks, for this Printmaking Project as part of ‘Global
Studio’ - IMPACT 6 Print Conference and exhibition, Bristol,
UK 2009, Coast- the Liverpool International Artists Workshop
2007 and the on-going ‘Eight Days A Week’ artists
from Liverpool and Cologne taking part in unique cultural exchanges.
PETE CLARKE Mount Vernon
A series of Etching and Photo-Polymer Prints
A mixed metaphor initially based on an annotated found copy of
T.S. Eliot Poems for the text combined with images from the demolition
of the Piranesi-like nurses’ home on Mount Vernon, the hill
rise behind the Royal Liverpool Hospital. Mount Vernon was the
plantation home of George Washington, the first President of the
‘There has always been an important influence from literature
and on literary narrative as a stimulus for problems of communication.
I collect old type and often use fragmented language in work,
for example recent prints and drawings are influenced by finding
a rather broken and torn copy of ‘The Waste Land and Other
Poems’ by T.S. Eliot, an old Faber Paperback that has been
annotated in beautiful pencil handwriting across the text by an
anonymous author, in a valiant attempt to understand the meaning
of the poems. It becomes visually and textually a fascinating
conceptual document, not surprisingly then it has stimulated recent
GEORG GARTZ Lost and Found
An installation of silkscreen prints combined with a reconstructed
family cupboard remembering childhood experiences
‘His cultural outlook and means of production are based
on the philosophical relationships between the act of making and
creative addition with processes of negation and revision, that
destruction can be a creative act. His working methods seek to
establish the critical tension between rationality and the exploitation
of accident by balancing systematic organisation with the orchestration
of formal difference, in a sense he infects clear clean colourful
surfaces and structures with viral mark making. This use of different
paint qualities and textures with stencils and mono printing from
found industrial surfaces and wallpapers generate new forms of
hybridity in contemporary painting’.
WUON-GEAN HO Masks Unmasked
Colour trial proofs for works in the Mask Series
In the silkscreen prints that make up the Mask Series, I explored
the notion that we have much more history, emotions and attitudes
in the make up of our true personality than can be conveyed by
viewing the surface and texture of the face alone. I combined
imagery from myth; concrete interactions; savage emotions and
strong aspirations, in a blurring of traditional portraiture to
a more symbolic one. Some of the small histories are described
on the surface of the face, and others are hidden in shadows or
ambiguous tattoo-like lines.
The wall of prints that compose Masks Unmasked is about the numerous
colour trial proofs that I made as I explored the themes and tried
to isolate an image that was most intense and resonated with my
personal aesthetic. The wall is an interesting insight into my
thought process, from colour swatches and scribbled notes alongside
the images to my handling and layering of colour. Much like a
diary, it charts the choices and substance in the making of my
CARL ROWE Drool
Screen-print, ink containing 20 herbs and spices, tin cans
Ivan Pavlov is remembered for his work with dogs, which led to
the formulation of his theory on respondent conditioning. When
a dog is habitually fed shortly after ringing a bell, it will
salivate in response to the bell regardless of whether there is
food or not.
For Drool, a poster image of Ivan Pavlov has been screen-printed
in a special ink comprising twenty herbs and spices derived from
the G20 countries. Twenty posters are pasted on the gallery wall
each representing one of the standard currencies of the G20. Below
a triangular stack of tin cans is suggestive of capitalistic commerce
and hints at Abram Maslow’s hierarchy of needs.
The work should impart a feint sweet smell of spice.
ROOHI AHMED Typhoon
Etching, hard ground and aquatint
Typhoon is about language and the subtleties of communication
and understanding. The resulting dialogue is explored through
a variety of media, research methods and the complexities of collaboration.
The body of work encompasses images as metaphors, symbols or merely
‘figures of speech’ evolved from conversations that
are either fluid or fragmented. The resulting works come together
and yet remain distinct allowing for a holistic experience of
expression. The understanding and inference of these works rests
upon their constituent objects and words, however, the resulting
ambiguities require the creative imagination of the reader to
synthesise and complete the narrative.