December 20, 2009
Taking home a print offers the thrill of savouring the many layers to the work and mentally deconstructing the artistic process that constitutes re-branding this ancient discipline as a contemporary craft. Contrasts resonate in each print, not least in the levels of intricate detail used. Catriona Brodribb’s bold lettering seems to move around the sheet because of the layers of scale employed, spelling out ephemeral words, whilst Elaine William’s naturalistic compositions uses fine detail to portray bridges in urban landscape. The use of the line appears to be critical in print and much more potent than its equivalent use in sketches. The simple line is used evocatively in Jack Conway’s floral print. In fact much of the work here is a direct response to nature, making for a fortified viewing experiene as the responses of the artists are satisfyingly eclectic and diverse.
Use of colour blocks is defined rigidly by the printing process: for example in Patricia Drew’s sweeping dynamic shapes which is reminiscenct of Patrick Heron’s work on glass. Shading via monotone is used in many of the prints to great effect, particular with a sepia twist in Irvine Louden’s sprawling tree. However when a colour palette is chosen this is seen to define the mood of the piece. Josephine Sumner’s tonal style has a hint of the tropics for me, whilst the yellow, blue and green selected by Caroline Tyack has an unexpected clashing effect with shapes to match.
Flora McLachlan achieves an effervescent chaos that is surreal yet very real to the soul. Morna Rhys work I love because it is inexplicably evocative, her landscapes feel familiar yet enchantingly mysterious and unknown at the same time. Both Artists always take me to a different place. The Printmakers Co-operative are an Oxford institution and members frequently offer solo exhibitions locally and appear in prestigious group shows elsewhere. It is a joy to browse around this capsule collection housed in the neat O3 gallery and enjoy them all in one place.
Use of colour blocks is defined rigidly by the printing process: for example in Patricia Drew’s sweeping dynamic shapes which is reminiscenct of Patrick Heron’s work on glass. Shading via monotone is used in many of the prints to great effect, particular with a sepia twist in Irvine Louden’s sprawling tree. However when a colour palette is chosen this is seen to define the mood of the piece. Josephine Sumner’s tonal style has a hint of the tropics for me, whilst the yellow, blue and green selected by Caroline Tyack has an unexpected clashing effect with shapes to match.
Flora McLachlan achieves an effervescent chaos that is surreal yet very real to the soul. Morna Rhys work I love because it is inexplicably evocative, her landscapes feel familiar yet enchantingly mysterious and unknown at the same time. Both Artists always take me to a different place. The Printmakers Co-operative are an Oxford institution and members frequently offer solo exhibitions locally and appear in prestigious group shows elsewhere. It is a joy to browse around this capsule collection housed in the neat O3 gallery and enjoy them all in one place.