Oil and Ink Monotypes

The first three images were produced by painting with ink onto gauze fabric and then transferring to paper. Ink was applied with a loaded brush on the cloth and then immediately laid over paper to produce print.  The ink bled into the cloth on either side of the brush stroke which resulted in a broken line.    'Chance' mark making!   

The images below were created using the same method as above with a second impression made.  This  resulted in a reverse image which was less clear - created a more mysterious image with a different quality of marks.  The combination of the two materials have produced some wonderful textures which would be almost impossible to reproduce using a direct drawing approach.

Continuing with the horizontal format two works on Japanese paper were produced in the studio at home.  The first was an attempt at creating a language of the tree by including and hinting at the shapes of the different components of the oak tree within a landscape.  I am aware that I have made a strong connection to the heavy gnarled branches of ancient oaks which with their enormous weight bend down to the ground.  Also included is the strong symbol shape of the oak tree taken from my smaller ink studies. I feel that a language is evolving using both pictorial and calligraphic imagery.  Elements of this first work suggest the traditional landscape themes on Chinese ceramics and scrolls. The painting provides several different narratives e.g.  the irregular line at the base of the picture could be a path, a tree, a river?

                                   

Below are some monochrome works by Bernard Piffaretti a French painter who produces 'duality' paintings. I have knowledge of this artist through my earlier research on repetition equals difference and have explored this way of working whilst studying for my Foundation Degree in Applied Arts. 

I wished to see what evolved when using this method within a printing process.  The image below was made as a duality work painting direct onto an aluminium plate.  Divided in half, using oil printing ink a line was made down the centre and then each stroke alternately repeated on either side.  The image was referenced from my an early ink sketch.  Strong and bold, ones eye glances from one side to another making comparisons with shapes and marks - an exercise in repetition equals difference - one painting cannot exist without the other using this method.  This could be interpreted as nature itself where duplication and replication always present a uniqueness.  The composition has evolved in four sections, representing the four seasons?Is the tree form reflected in water? Mark making is very varied. The final image has been presented in a horizontal format showing a centre section from the original painting. Can you find the rabbit/hare within the picture?  It is rather like a 'spot the difference' game!