The actual techniques involved in printmaking are
the domain of the printmaker and the frustration as
the general public's ignorance of the manner and
intricacies of the printmaking is sometimes evident.
I am astounded at the ability of the professional
printer
to make original work from the printing process.
The choice of subject matter,
whether the scenic area of Oxford, or the burrows
of land in Cornwall and the coast
is highly imaginative. It is as if we are exploring in
our youth for the source of intrepridation in caves,
the wiles of nature as told
through folk tradition in verbal form now is evident
in a printing plate.
The land, as narrated on 'The Coast' is truelly
rapturing, as is the cover of nature in these prints:
the trees, stones and flowers all
capture a natural tradition of the Pre-Raphelites
telling of the stories of old, perhaps Tolkien would
have wanted these for the
'Hobbit' and 'Lord of the Rings'.
Aside from the obvious symbolism of the Pre-
Raphelites,
we ponder each print with the dexterity
of the nature lover. hark, our
minds are awake; We look down upon with respect,
get tangled in drops to the sea below the coast.
The theme of water is evident
though quite its role is not up for discussion it is as
much a part of the land as the earth itself. The
defining and discordant nature
of the growth of twig and branch tells of the mists
of time unchanged in centuries, unfortunately the
modern world has taken its toll.
This is not to be seen in the duotones, shinning
form from dawn light, the landscapes ephereal and
compositional subtle or indeed
sophisticated take us back to the comment that
every image tells a story.
There is something for everyone here, of all ages,
and opinion; definitive and stormblowing, archaic
nature is being re-drawn and
printed in the fine tradition that it is.
