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From a series of works in black and white with striking compositions.
They are some of the first larger works that I printed on my press. It felt great to gain
control, rather than having to take all the gear to another workshop.
Based on my first holiday where I travelled by plane. Happy memories.
This is etching of those long gone days of underage drinking. The second image is the first state, in fact all of these marks were
made with just one aquatint. Next is a preliminary drawing of someone jumping over a canal.
Created just after I had done some public art work at the Olde Queens Head.
A scene of sensory dreprivation, getting notes out of the H Block (not something I would be any good at) and
a badly drawn Margaret Thatcher.
Also related to the above theme. I read about the sensory deprivation torture in the Guardian.
It said that if you were deprived of touch and vision, and made to wear headphones with loud white noise
blasting out, then you would not be able to form a sentence in your mind after thirty seconds.
An uneditioned etching, a bit of a failure, but has some interesting bits.
No idea what I was thinking of when I did it.
A very brief time staying in this now demolished set of flats. Something I saw one night.
As in the title, Steve sandblasting my public art work, Grinders Hill. I was pleased with the light coming through the dust on
the right of the print.
A scene from the same factory.
A seriously worked plate.
This is the black and white print of the colour print of the same title.
A development from the Eventually and Throwing the Moon plates. The setting is the part of the
river at the back of the Fat Cat. This is quite a large plate, and this is not quite the finished state.
The first state of my latest etching. I wanted to get a really soft light feel to the figures.
I now want to concentrate on getting light into my figure paintings.
Right: The final state. I added the Whimbrels from the woodcut Birdwatchers after
reading about the legend of the six whistlers (whimbrels or curlews) who screech around the moors at
night. When they find the seventh whistler it will mark the start of the end of the world
I took the idea that I had started to develop in the etching "Throwing the Moon" a little further in these three plates.
There is the "Roach Spreader", part of a North American native headdress: a younger dancing version of myself:
and the figure from the Deposition from the National Gallery, London.
A variation on the etching "Eventually". This was made by transferring an oil based monotype
onto the etching plate, flooding the plate with Straw Hat Varnish. Dry the plate,
clean it with turps, then put an aquatint on it.
This is also a variation on a theme, this time the etching was "Throwing the Moon". The etching
started out as a part of a two plate colour work, but I liked the white images against the
cityscape, so I abandoned the second plate.
Poor old Thom Clough, driving off into the distance, having distracted me for too long with his scenes of sunny Greece,
and days spent at craft fairs.
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