Print Club News / October 2023
I’ve been making and refining my glass edition, entitled Vessel, over the summer. It remains a work in progress. The top image in the newsletter is of a 3d printed, one to one scale PLA maquette of the work, ready to be burnt out in the kiln, ahead of being cast into glass.
I’ll be working with Dr Angela Thwaites, a noted British glassmaker, in her London studio later in the autumn, in the hope of completing the work before Christmas. There’s a lot of polishing and grinding involved to complete the 11 glass components that make up the work.
Vessel / a reliquary for the Holocene
I’ve been working on a few new CG visualisations of my kiln fired glass edition Vessel / a reliquary for the Holocene recently, of which this is probably the most successful sequence to date. A lot of new things to learn to make this happen, esp working with DaVinci.
I seem to have been drawing, printing and refining this sculptural model on and off for four or five months now, in between working on my other projects. It’s been an interesting challenge, and one that has consumed a lot of energy this Spring. I think it’s finally ready for editioning now.
Capsule / A folio of six photopolymer etchings with gilding and chine collé, work in progress
I thought I’d post a few images of work in progress from my latest series, Capsule. A set of six photopolymer etchings made as part of my residency at the Centre for Print Research at UWE.
I wanted to create a folio of six prints that further my ongoing study into digital drawing and haptic making. I like the idea of seeing how the introduction of digital techniques into the traditional workflow may change or augment the outcomes of a particular project or set of drawings.
Centre for Print Research, UWE
I've been gifted an amazing opportunity to work as an artist in residence at the Centre for Print Research at UWE this Spring.
The CFPR has an amazing array of traditional and high tech print making technologies in a large facility on the Frenchay campus in North Bristol. The term print making is used in it’s broadest possible sense here, and includes 3d printing for ceramic and glass editions, 3d CNC routing of metals and plastics, laser cutting and 2.5d printing for low relief studies on paper and plastics, alongside screen printing and intaglio processes, amongst many other possibilities.
CFPR residency, January 2023
As the Christmas and New Year break winds up, I've found it to be an invaluable time to reflect on the first few weeks of my residency at the Centre for Print Research, UWE. A really useful moment to pause, collect my thoughts and focus on what I’m hoping to make over the next few months.
Artist in residence, Centre for Print Research, UWE
I’m really excited to be working as an artist in residence at the Centre for Print Research at UWE over the coming months. It’s an incredible opportunity to realise some new works both in 2d and 3d, using some of the centre’s state of the art technology…
Moving Image Art : 3
MIA: 3 is the third instalment of an annual exhibition initiated by PhD students and staff of the University of the West of England, Bristol.
The exhibition features new video and digital work by students, staff and related artists making work funded by the University’s video art bursary scheme in partnership with Bristol Museum, Knowle West Media Centre, MShed, Arnolfini and Spike Island.
This is an ideal opportunity for audiences new to this area to see a range of video works and moving image art and understand why it excites the interest of a wide range of creative people.
Analogue to Post Digital, BFX Conference, 2015
I’m looking forward to presenting a recent paper at the BFX Conference this September, which Dr Sarah Sparke, CMIR, UWE (Centre for Moving Image Research, University of the West of England) and I have co-written this autumn.
Entitled ‘Looking back to go Forwards: tensions and missed opportunities. A case-study of continuities and breaks in practice and technologies’ the paper examines the ways in which current curatorial practice and pricing mechanisms may be putting a brake on the uptake of contemporary digital techniques being used, and commodified, both in the commercial gallery sector, and the wider arts community.