Celebration Window Installed

Steve and Wynn’s Window ……

Made for a house in Cumbria, this bold and beautiful window based on crewel embroidery, the garden and the Celebration of Life  was installed at the end of April, much to the delight of myself and the client. A full write-up including a short film will soon be available to see.

 

Four Welsh Saints

Yesterday saw the successful installation of four new windows for St Benedict’s Church in Clydach, Swansea. The windows were commissioned on the theme of four Welsh Saints:

St Non,   Dewi Sant (St David),   St Gwenffrewi (St Winifred) and St Telio

St Telio DetailI designed some windows for this church 10 years ago, the Windows of Compassion series, and it’s a privilegeto be asked to make another contribution to the building.

Each window uses symbols of its Saint: the planting and patronage of fruit trees by St Teilo and his riding of a stag to claim land; the plan of the Holy Well of St Gwenffrewi with symbols of her matyrdom, the stone arch of St Non’s Well in Pembrokeshire containing her Cross and the lightning that, legend has it, raged during the storm into which St David/Dewi Sant was born.Finally, St David’s window contains his classic symbol, the leek, as well as the mound that ‘arose’ to facilitate his preaching and a representation of St David’s Cathedral, site of extensive pilgrimmage.

First Flowering Prints

FF 10 of 11. 2015 (3)Inspired by Jacobean Crewel, a style of embroidery developed in the 17th century that was influenced by exotic flora and fauna found on imported Indian chintzes, ‘First Flowering’ is a limited edition of 11 recently completed prints.

An image of each individual print can be found on a new page in my gallery called ‘First Flowering Prints’ ,  so anyone who is interested in them can have a good look!!

 

2/11
2/11

 

 

 

Lino experiments: ‘First Flowering’

'First Flowering'
‘First Flowering’

Having done Ian Phillips ‘ fantastic  Reduction Linoprint course at the end of last year in Machynlleth, (resulting in  the prodution of several versions of the ‘lino rhino’…see below)

I decided to attempt another piece of work to explore the technique further and get to grips with how I can use it with my own work….thinking about the relationships between painting, linoprint and glass.Lino Day 1 (12)

 

 

I’ve been looking at crewel embroidery for a while now with its stylised, simplified forms,  and used one of these as a start point for a reduction linoprint.

Somewhat ambitiously, I now realise,  I planned out a  300mm x 300mm, 7 layer print using the bare paper as a white layer, adding yellow, orange, pale blue, green, mid-blue, red and dark blue. It has resulted in a rich and layered result that I enjoy and will explore further in future prints. The image galleries below show the work in progression over several days, starting with a very enjoyable 2-day studio session with fellow glass artist, Sonia Hawking.

The prints are now drying and will be for sale: mounted (£125),  and/or mounted and framed in solid oak (£165). When the prints are ready, I will post an image of each print individually so you can choose the exact one that you want….as well as some images of the frame option.

Layer 1 – Yellow Base

This slideshow requires JavaScript.

Layers 2-5 :Orange/Light Blue/Green/Mid-Blue

Reduction linoprinting involves the cutting back of the lino with each successive layer of printing, leading to the eventual removal of nearly  all the original surface. This enables multi-layered prints with (exact) registration, but also means you can’t go back and do it again….so in this edition of 11 prints I experimented with colours and how one underneath affected the one overlaid. I have ended up with 11 similar but distinctly individual prints from the same block…….which appeals to me as a maker of predominantly one-off pieces the rest of the time….

This slideshow requires JavaScript.

Layers 6+(Unexpectedly) 7 : Red and ….Red

So, by the time I got here I was struggling to keep adding layers as I liked each successive image as it appeared!! However the plan in place was to add red which I did. I ended up adding two distinct tones of red on each print to make some lighter and some darker before the final defining layer of dark blue

This slideshow requires JavaScript.

Layer 8: Dark Blue

The darkest and defining layer, addding the deepest tones. Some of the prints have pure blue on them whilst others graduate towards a deep purple. One of the many useful tips from Ian’s course was to avoid black in prints and to go for dark tones of colours instead. Wise words!

This slideshow requires JavaScript.