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printmaking

Printmaking again

Not having a ‘wet’ studio I must make do by printmaking in the kitchen, not ideal but still possible to get likeable results, I hope.

As a long-term project I want to make a series of prints of Church Road people. The A420 runs from Bristol to Oxford but the part I’m interested in is from Lawrence Hill to St. George Park, about a mile, with Easton on the northern side and Redfield on the southern leading down to the river Avon at Netham lock and Barton Hill. I started with some drypoint etching of several folk and today I’ve been adding some colour to one of those sets of prints by making a collagraph plate.

And also doing some more printing from drypoint plates. There isn’t any shortage of subject matter around here, many colourful and friendly characters and bubbling street life. We have live music at the George and Dragon pub every Tuesday or more often, several good places to eat and the Plough Inn in Easton – scene of great music and good food – is just a stroll away. I would like to capture a little all of these riches, and more.

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art

More Cracks in the System

Cracks in the System, 30 x 29 cm, oil pastel on paper, 2025

Trying to get into the groove again after doing very little for two months and not much for some time before that! This is on cheap A3 drawing pad paper but the next ones will be on oil pastel paper which has a textured surface. It’s a fast way to create an image but can be hard to cover any mistakes or unwanted marks.

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art

Hare Masks

Although each of the nine masks didn’t take a great deal of time to make the finishing has required more effort than I anticipated, I could have reduced that by being a little more careful with the making. Notes have been made ready for the next project! Natural fabrics have been used throughout, some organic but some of the shiny stuff is polyester – it can be hard to avoid. The thread is almost all organic as I like the extra strength and quality, with some rayon and again a little poly.

Nine Hare Masks, each approx 42 x 30 cm, mixed fabrics & wire, 2024 C.Miller

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art

Fuyuko Matsui

I have visited a great many galleries, open art events and artist’s studios this year and also looked at a lot of art on-line where the quality of images varies a great deal. Occasionally something will grab my attention (not always the best or even good) but since our visual world is saturated with images it is hard for anything to stand out.

Fuyuko Matsui is an artist who shines out and having stumbled across her work on-line I really want to see it in the flesh, alas this is unlikely any time soon. Tate (London) have an article about her dated 2009.

Becoming Friends with All the Children in the World

2002 / Color on silk Mounted on Paper with Metal Foil Backing / 181.8 ×227.8cm / © Fuyuko MATSUI

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art

Requiem for Oil update

I’m amazed to say that I got the People’s Choice prize at the Bath Open Art show which finished on Saturday 26th October (2024).

At 44AD, Bath
Categories
art

Afghan Wedding

In the distant days of 2011 when President Obama was ‘surging’ on Afghanistan, continuing the US invasion and occupation, there was yet another drone strike on a celebration gathering and the usual denial/excuses were dribbled into those few sections of the corporate media who were slightly interested in the fate of ‘natives’. The US military refers to those places it invades as ‘Indian Territory’ and any opposition – real or imagined – as ‘hostiles’, the same terms in use when the native peoples in the Americas were being destroyed by Europeans mainly originating from Britain. It frequently names its weapons and procedures using First Nation names, e.g. Apache ground attack helicopters. I’m reminded that the current mass slaughter of Arabs by the western proxy state apartheid israel is just the latest round killing, destruction and impoverishment of much of West Asia by the USA and it’s allies such as the UK.

Anyway I was prompted to draw and then later work on those drawings, in textiles and other media such as the enamel piece on this blog.

I have a few textile versions in various stages of completion but never quite finished, the one I’m posting here had a wide border I didn’t like which I removed last year, now I am adding a blue border which will be embroidered.

Istalif Afghanistan pottery

There is a guide to Istalif pottery on the Jindhag Foundation site. I especially like the motifs used to decorate this fine handmade pottery so something loosely similar will be added to the blue border using black thread and free motion machine stitch

Afghan Wedding, 135 x 80 cm, quilted textile, 2024

I feel I’m finally completing this textile piece and can also now hopefully finish the other versions.

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art

Sue Coe

I’m waiting to find out if Requiem for Oil has won a prize in the Bath Open Art Prize Exhibition 2024 – the show is free entry – as the judging was yesterday. The standards of exhibitors are very high so I’m not optimistic. But in the meantime I came across the truly wonderful Sue Coe, an artist and activist working in the USA, born in the UK just a few months later than me. Although I often search for artists who are activists and produce political art I can’t recall seeing her work but she is an illustrator as well as a painter and printmaker and he work has often appeared on the (essential) Counterpunch website, a place I look at almost every day.

United Front Against Trumpism/Fascism, Sue Co

NB. The winners of the Bath Open Arts Prize were: 1st Aran Illingworth (Bag Lady, a textile piece); 2nd Oliver Hurst, (Moth on a Building, oil painting). Many congratulations to both.

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art

CoBrA

I’ve put other links about CoBrA but this is an excellent introduction to the movement written on the 75th anniversary of it’s founding, last year.

As the seeming stampede to world war by the western states and their proxies continues the political stance of the CoBrA artists is more important than ever.

A visit to the CoBrA Museum in Amsterdam is not to be missed if you find yourself in that fair city.

Huile sur toile, Jeune Peinture Belge
Dimensions : 87,5 x 160

The spirit of the movement is anti-formalist.

Categories
art

The Serious Art of Quilting

I stumbled across this article from 2021 while I was preparing a leaflet to accompany my Requiem for Oil quilt which will be on display in Bath next week at the 44AD Gallery.

“The serious art of quilting: the history of patchwork and political activism. The craft of quilting has been around for centuries, and has more recently emerged as a serious art form in its own right. Fiona McKenzie Johnston explores its history and contemporary relevance.”

Another article looking at the same theme, from 2020 by Isis Davis-Marks https://www.artsy.net/article/artsy-editorial-quiltmakings-deep-traditions-influencing-contemporary-art

The ‘art world’ gets a mention in these articles (and many others) but isn’t clearly defined, although it seems to mean the dealers and galleries rather than craft/gift shops and local shows. Quilts, “warm, comfy, fluffy” do get discussed and some contemporary makers get a mention. There is a wealth of craft work which is often undervalued – especially if created by women – and the originality of much of this work as well as it’s innate quality is testimony to it’s real artistic (and monetary) value, in short collectors want it in the same way they wanted ‘native’ and later ‘ethnic’ art.

Most of my textile work isn’t political in any obvious sense and only a little of that which is has been on public show so far.

The textile prints below were all based on Afghan poppies, quilted into 15cm squares and intended as a border to a larger quilt called Afghan Wedding, similar in image to the enamel work which is on this blog. But I didn’t much care for the border and so the piece is still waiting to be completed years later.

Other squares were based on tile images from Afghan ceramics.

These are all stencil mono-prints, the stencils were cut from thin film and the prints made with soft rollers or sponge, acrylic paint mixed with fabric print medium, quilted after that.

Afghan Wedding quilt, for in progress in 2019.

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art

Bath Open Art Prize Exhibition 2024

My work Requiem for Oil has been selected for the Bath Open Art Prize Exhibition 2024. There are other pics of work in progress earlier in this blog.

Prize winners will be announced by judges Leonie Bradley and Karen Wallis on Friday 11th October, wish me luck!

The exhibition runs:

10th to 26th October

open 11am-5pm daily

at 44AD artspace, Bath BA1 1NN (this gallery is in the centre of Bath)

bathopenartprize.co.uk

fringeartsbath.co.uk

#BOAP2024

Thank you to organisers Fringe Arts Bath @fringeartsbath and the prize’s supporters for this opportunity: @Wessex_Area @thebellinnbath @studio44ad @minervaartshop

Poster artwork: Andrew Jenner, Sunday in the Park with George @the_dolliverer