About Sennen
Sennen is a new study, and the first in a series of works based around a loose grid of interlocking circular forms. The work takes on some of the language of artists such as Sonia Delaunay and Sarah Morris, who both use flat geometric grids as the basis for many of their studies. I’ve taken that idea and built it up into something more complex and textured, that I hope is redolent of a landscape, or perhaps just a dreamlike imagining of a landscape, filtered as ever through the digital, and its ability to layer and distort form.
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Sennen / EPC #22
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Edition of 24, plus 4 APs
10 colour pigment print on Hahnemühle 100% cotton rag
Printed in the studio, July 1st 2022
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Sheet size 54cm W x 54cm H
Image size 40cm W x 40cm H
In situ and in the studio
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Print Club News / April 6th, 2022
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…Having worked through a good number of XGen and Stellify variations in January and February, I thought I’d switch my gaze over to something that is both quite similar and simultaneously quite different. This latest study, working title Torq, features a series of interlocking circles, that create a kind of rotational grid from which specific interlocking forms can be realised, that I hope create some rather lovely relationships with each other, with the smaller details interplaying as they bisect adjacent discs and each other. As ever, much of the joy is in the detail for me. The whole is quite redolent of the Altair design pads I used to enjoy in the Seventies, if you’re old enough to remember them!
I’ve spent quite a few days working up the grid structures and exploring the overlaying forms. As ever there are myriad possibilities to work with, and edit. For the initial studies I wanted to use a spring palette of greens, blues and earthy neutrals, that I hope will make for a good print. I’ll probably work up several further colour palettes, and experiment with some darker and more saturated variations too.
The next stage of the drawing then involves working up a kind of splashy series of movements, almost like those images of droplets hitting the surface of a liquid, creating radiating splashes of colour and movement, that I think will add some real dynamism to the final drawings. We’ll see…
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Print Club News / June 14th, 2022
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…I don’t know if it’s immediately apparent, but I’ve been enjoying and deconstructing some of Sonia Delaunay’s work. I’m attracted by the way she lays out her geometry, with a beautifully loose feel, and a great eye for colour. There’s something of real joy there, and I’m intrigued and keen to explore the way she builds an image out of interlocking forms, as opposed to making the work from a singular whole, which is more normally the approach I would use. To some extent I find this to be a more ‘designed’ way to approach a work. It allows for far more freedom to move and modulate the colour blocks and image areas than I would normally feel able to do. As always, it ultimately comes down to trusting the process and allowing the work to flow in the moment.
The drawing started out with what I think of as a Peacock palette, greens and blues mostly, but as it progressed I added in some sandy oranges and yellows, and some whites and light blues, so it seems to me to have moved into something nearer to a kind of abstracted landscape. But maybe that’s just me!
I’ve titled it Sennen, a beautiful beach not too far from here, deep in west Cornwall. It’s a place I’ve visited a few times, memorably with an old friend who is sadly no longer with us. I find myself living with his memory now, and it gives me some real pleasure to think of him enjoying lazy days in Cornwall, with our families…
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Associated works
