Following on from my experiments with drawing and writing on the move, I wanted to investigate how these marks would translate into hardground etchings. Using the plates in the place of paper whilst moving proved challenging as the process of drawing is far easier than using an etching needle. I initially tried to use 4 small etching plates together; one drawing was made across all of them as they were pushed together to form one surface. When printing the plates I tried printing them together as a single drawn image, and then separately so that they formed a grid structure with space in between each plate. The results are strikingly different from one another. Together, the plates make a distorted rectangle. The drawing can be seen and identified as a whole, yet you can’t help but see the indicators of the separate plates, so they still form a grid. The separated plates isolate each one as an individual drawing. Close inspection can only reveal the connection between the plates. I then tried the same technique but with a single plate, this time writing as well as the kinetic drawn marks. The result proves interesting as the printing process has flipped the writing so that it reads backwards. Even though it can be recognised as text it proves even more difficult to read than any text in my previous drawings.
I can’t help but see a connection to cartography in these works, and I wonder what it is that I have to do to make a stronger connection between that theory and these drawings/prints. Perhaps a more direct reference to the location where the drawings are made, or incorporating the marks with other materials/processes.
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AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
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