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About Phase TWO / hi chroma
Phase TWO / hi chroma / EPC is the 32nd work for my Experimental Print Club.
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Phase TWO / hi chroma / EPC #32
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10 colour pigment print on Hahnemühle 305gsm XX rag
Edition of 12, plus 2 APs
Printed in August 2025
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Sheet size Xcm H x Xcm W
Image size Xcm H x Xcm W
In situ and in the studio
About the Print Club
If you’d like to receive three or four exclusive new editions in the post each year, alongside personal news and views from the studio, and invitations to shows and fairs, please do consider becoming a member of my Experimental Print Club. You can join or leave the club at any time, with absolutely no obligation to stay any longer than you want to.
New works are sent out somewhat sporadically throughout the year, often in line with the changing seasons. Each piece is unique, exclusive, and only available on the day it’s editioned, the size of the edition being determined by the number of members on the day.
I hope the club presents a more personal and intriguing way to connect with the studio, by creating a platform for collecting engaging new works for your home. The club is hosted online here, and I send out fairly regular blog posts and emails about the work too. I’d like to think that it’s an interesting proposition!
Membership is currently priced at £36 per month inc. UK delivery, or £42 for an international address.
From my blog / 12th August 2025
Phase TWO. I’ve printed the work as a ten colour pigment print on the new PermaJet Titanium metallic, which has a lovely almost iridescent feel. The contrast between this and the mono etching on Somerset could hardly be any wider. You’ll notice that the print is ‘tipped in’ to a tightly fitted debossed panel on the Somerset paper, that helps hold the edge quite well I think. It’s significantly more minimal that previous editions where I’ve used a small holding gap or shadow gap, rather than going straight in. Straight in is far harder to achieve of course, the fit has to be tight, but it makes for a more minimal effect that I’m enjoying at the moment. The edge of the colour work is a little ragged, as the coating on the paper scuffs a little under the scalpel’s blade. After some thought, I’ve decided to make a virtue of this, and so ‘rolled off’ the ink all around the edge, with my thumb, to give a fairly even almost scumbled finish. I think it makes the most of what might otherwise appear flawed! Ultimately I have to embrace the materiality of the different aspects of each piece, the gains and the losses.
I was chatting with Martyn Grimmer, a fabulous printmaker and artist who teaches at Spike. He told me that, in his experience, you start out early in your career being pretty happy with virtually everything you make; then later on you start to apply a more critical gaze, and begin to be dissatisfied with some aspects of what you’ve made; and finally you almost cease to be able to complete works, as your critical thoughts completely stymie the process of making. The search for perfection. I thought this was a really interesting lesson, and as I found myself almost surgically scuffing the edges of the inked prints, I knew that he had a point! I am going to try to remain ‘zoomed out’ as much as possible, and try not to let the minutiae of the details suspend or upend the joy of the making. It’s a tricky thing to pull off of course, and doesn’t sit easily with my approach to fine detailing.
I’ll look forward to posting some more news and views when I have them. There are a couple of shows coming up, one in the City in the Spring, and a few fairs, including Ink Miami and London Art Fair, so lots to be getting on with as the Autumn comes in.
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Read the full blog post here >
https://chuckelliott.com/news/print-club-news-12th-august-2025
Associated works
