Archive | January, 2017

In Parallel and Entwined

19 Jan

Another new book!

My preparatory studies for the In Parallel project included a number of black and white collages, drawings and mixed media works on brown/neutral paper.  I had had it in mind to continue these and develop them into an artist book.  The themes of everyday details and office work suggested the use of manila envelopes as the ground for the studies.  The variety of tones and hues of these envelopes and parcel paper is large and so the combination of studies is quite visually pleasing.

The studies are diverse but all referring back to motifs from the In Parallel project of maps, everyday details of the business park (air conditioning vents, manhole covers), elements of the landscape (disused railway bridge), and plant forms.  Methods include collage (using digital images, maps), drawings in a range of media, frottage and painting in gouache and acrylic.

I selected 25 of the studies to create a concertina-style artist book with a frieze on the reverse of the pages running the length of the book.  These are then bound into a clam-shell box with a cover that is itself a collage using strips of different brown envelopes/parcel paper, and applied acrylic medium as a smooth protective layer.

The original works are published as a single limited edition.

I self published a full colour paperback version on lulu.com, which retails at £12 + p&p.  Further details for purchasing here.

I’ll be launching the book during the exhibition at In Good Hands cafe in Shrewsbury.  See the news page on my website for more information.

The paperback version front cover:

print_cover

Here is a small selection of the finished studies:

Here is a selection from the frieze on the reverse pages:

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New Paintings and Decollage

10 Jan

Since completing my BA in April last year, I spent the Summer busy experimenting broadly along two research lines.  One line continued my interest in the edgelands, looking at outsider homes or hideaways – the dichotomy of feeling safe from the outside world versus the feeling of threat or menace of the unknown in edgelands.  More on this in a later post.  Another productive line of work, was a series of paintings and mixed media collages/décollages which hybridise maps, organic forms, and human-made forms.  The décollage work is unashamedly influenced or inspired by the the work of Mark Bradford.  Décollage being the sanding down, ripping off or cutting down into layers of collaged paper.

Working with a variety of found papers from magazines, newspapers, plain coloured papers and maps, and a combination of oil paint, acrylic, varnish and turps, I developed some of the motifs I adopted in the In Parallel project.  I delved further into my investigation of the relationships between organic and human-made forms.

These are a couple of early studies:

Two small designs on canvas, comprised “all over” collage, whereas for some larger studies on board I cut into the layers of paper to isolate the main shapes.  In all cases, I also applied thin acrylic colour washes to help reinforce/define the designs, enhance tonal contrasts and also to bring out the textures in the décollaged paper.

 

There are so many permutations of paint materials, layers, glues, varnishes, types of paper which all affect the final surface finish of the work, so I will continue to explore, particularly around how to bring out more contrast and vibrancy of colour in the work.  Although I also recognise that one of the attractions of these pieces is the subtleties in the variations of tone and hue.

Some of the works incorporate string, card or other materials (such as the cow parsley above) to create ripple effects with the overlying paper layers, although I found this has only limited effectiveness.

This mode of working offers huge flexibility.  I can mix in lots of different visual imagery and then the sanding down process followed by paint staining and further modifications, both degrades and homogenizes the contrasting imagery.  The visual effects are subtle, complex and give a sense of time, erosion, degrading memory and nostalgia.  The resulting palimpsest is hard to control, and some of the images/test in the upper surfaces are lost in the sanding process but there is usually enough remaining to discern some hint of meaning, whilst almost always there are new meanings and relationships revealed upon closer inspection.

A selection of these new paintings are on show in January through till the end of March 2017 at In Good Hands Café88/89 Frankwell, Shrewsbury, Shropshire,SY3 8JR.  Its a great venue combining tasty healthy food with music events, workshops and holistic therapies.

Andrew Howe, Biomorph III

Biomorph III, Mixed media on board, 61cm (w) x 67cm(h)

Andrew Howe, Biomorph II

Biomorph II, Mixed media on board, 30.5cm x 61cm

Andrew Howe, Biomorph I

Biomorph I, Mixed media on board, 30cm x 61cm