I thought I’d write about different aspects of my studio practice, to share a little of how I work and the various materials and methods I use.
So, to begin, let me tell you a little about my love of monoprinting. As an artist who has drawing at the heart of her work (in even in the most abstract of painting) I use monoprinting as a key part of my practice and have continually returned to it since my art school days.
The technique of monoprint drawing, through the back of a piece of paper, either with a pencil or my finger allows the accidental and unexpected to happen in way that direct-drawing does not.
Unlike other forms of printmaking, a monoprint is an edition of one. I tend to work in short runs, producing groups of images in a printing session. They share similarities, maybe even a narrative, but importantly each print in unique.
When working, you don’t know what the image will really look like until you peel back the paper. I tend to work quickly and each image is unplanned, beyond having a general overview of a theme. I just begin to draw and go with it. I think this method relies on trusting your own ability and having confidence in what you are doing- just draw and allow yourself the freedom of going wrong.
I often draw heads, sometimes distilling the image to just three or four lines, often just using black ink. It is an eternally fascinating image to use as a starting point, recognisable in just a few marks. Expressing emotion and feeling with the tilt of a line. From birth our brains are hard-wired to recognise and ‘read’ faces, it is arguably the most powerful of images
If you’d like to see more, a selection of monoprints are available from my online shop…or have a go at creating your own.