ABOUT THE PRINTS
These archival Giclee prints have come about through a long term practice that initially facilitated development of the paintings. Using photography of works allows me to computer progress them as ‘virtual’ variants. This working method has freed my practice immensely and I am able to experiment on colours and alternative compositions much faster than painting out the possible options, a ‘fail faster, success sooner’ approach that suits me. There is an exciting exchange of techniques and ideas that happens between the traditional ‘wet’ approach and these ‘dry’ painting methods. I realised after fifteen years that many of these virtual sketches and trial colourations had a different quality and value in their own right as printed artworks. The print editions are realised by a state of the art printer that can deliver consistently accurate, velvety matt colour across large areas of archival fine art paper.
PRINTING DETAILS
GICLÉE PRINTING is generally accepted as a reference to the highest quality photographic and fine art inkjet printing. Using the latest Epsom equipment with eleven high stability, archival pigment inks the limited editions are printed individually to order in the UK by a specialist print technician. The results get permanence ratings of over four hundred years in independent tests conducted by Wilhelm Image Research laboratories. Each print is on Fuji Fine Art Museum Rough, a 300 gram cotton based heavyweight paper that will be signed on the front with the edition number. A generous border allowance is added to the listed image sizes.
Some artist proofs (A/P) and single prints (1 of 1) are available immediately and can be shown on enquiry.
Please contact me for sizes, prices and delivery details on prints of interest.
ABOUT THE PHOTOGRAPHIC PRINTS OF 3D ARTWORKS
These works are temporary, loosely balanced structures that came about during an enforced period of lockdown when I started to play around with materials to hand. Gathering offcuts from the construction of my studio I painted some of the timber and plywood pieces using leftover household paint samples thinking they would help in trialling colour combinations, a kind of 3D version of shade cards on a pin board. My barely concealed inner child took over and I began constructing the pieces without glue in more adventurous ways and then inevitably began photographing the results. As the practice continued so the building blocks became altered by over painting, sawing and recycling.
It’s been inspiring and fun, the dampener of using precious, expensive materials being absent.As the decorator colours used on the offcuts might be slightly fugitive I decided not to sell the blocks themselves. Besides, the photographs were fast becoming the enduring record and actual artworks. It’s a question of balance sometimes.
A selection of the photographs are available as prints in a limited edition of 10 using the same technology and paper as the art prints. They will also appear shortly in a limited edition book.
Please contact me with any queries on sizes, prices and delivery details on prints of interest.