Printmaking & Photography
Cyanotypes
In the process of creating my cyanotypes, I directly harness the sun to develop John Herschel’s 19th century chemical compounds, which he discovered resulted in making a new colour – Cyan. These chemicals react directly to the position, cycles and the time spent in the sun. I have made cyanotypes and projections from my photographs of Yantar Mantar, the naked eye observatory built by Jai Singh 1734 in Jaipur, India which I visited. I simplified the architectural geometry of both Vrihat Samrat, a vast equinoctial sundial, with a gnomen 27 metres high. The marble incisions on the side of the stairs give an accuracy in hours and minutes and up to 2 seconds.
Positive Negative, Vrihat Samrat Gnomen, 2021, Cyanotype, 38 x 28cm
Stairs, Vrihat Samrat Gnomen, 2021, Cyanotype, 31 x 20.8cm
Untitled, 2021, Cyanotype, 29.5 x 21.8cm
Nest, 2021, Cyanotype
Partial Eclipse, 2021, Cyanotype, 31x 41cm
Worlds I, Cyanotype, 2021
Study for Worlds I, Cyanotype, 2021
Shadow Play
I am interested in shadows and reflections by and of the sun. I photograph and project found objects and templates to mimic eclipses, orbits and instruments. I continue to investigate the 30-day cycles of ancient stone rows, equinoctial apertures and alignments. I have researched the observations by WH Wesley, John Somers, Annie Maunder and Nasmyth of eclipses, the Milky Way and sun spots.
Canisbay Cross
Similar to my stone carving, ‘Pieta’, the composition of these aquatints borrows from the shapes of the Canisbay Cross in Caithness, a sandstone cross-slab featuring incised carvings, approximately 1100-1300 years old.
Cellforms I-III
This series of white on white embossed relief prints look at the play between light and shadow on forms floating in suspension. Based on the Regeneration sculpture of tubular steel, the prints take the positive and the negative of the cell form shapes.
Cellform I, 2014, Relief Print, 54 x 40cm
Cellform I, 2014, Relief Print, 54 x 40cm
Cellform I, 2014, Relief Print, 54 x 40cm
Fossils, Life Form and Regeneration
Similar to the Cellform series above, this series of aquatints and monoprints incorporate the same recurring nebulous shape in different ways to explore themes of time, life cycles, relief, patina and marks.
Regeneration: taking its inspiration from the tubular steel sculpture of the same name whose shape is based on cells reproducing, this series of prints explores the theme in 2D, whilst also incorporating embossed elements.
Fossils: based on the shapes and forms created by the fossil deposits of Inferior Oolitic soils of Dorset. Once part of an ancient sea, these creatures were laid down as the sea receded millions of years ago. Humans can only see this lost marine world when locked into the land. Here, these ancient life forms are floating in air.
Life Form I, 2013, Aquatint, 30 x 20cm
Life Form II, 2013, Aquatint, 30 x 20cm
Study for 'Regeneration', 2013, aquatint
Fossil, 2013, monoprint
Fossil, 2013, monoprint
Regeneration II, 2013, Aquatint
Regeneration IV, 2013, Aquatint, 76 x 57vm
Regeneration III, 2013, Aquatint
Kilnave Cross
This print is based on a rubbing taken directly from the Kilnave Cross in red ‘Saunguine’ chalk, transforming and recording material, history, patina. The historic Kilnave Chapel and Cross are a ‘secret’ feature of Loch Gruinart; they’re almost invisible from the road and therefore often overlooked. The Kilnave Cross is a beautiful standing cross at the west end of the church, almost 3m high. This cross is carved on one side only and very little remains; you need very good light to decipher what is left.
Kilnave Cross, 2017, C-Type Photograph, 290 x 112cm
Study for Kilnave Cross, 2017, Sanguine Chalk, 290 x 112cm