British printmaker Angie Lewin has created a limited edition screen print entitled Nature Study, Late Summer (2015), in response to the David Jones exhibition. The print is available to purchase in the Pallant Bookshop, priced at £335 (inc VAT, edition of 150) with a reduced price of £295 for the first 30 sold.
Angie Lewin writes about the inspiration for Nature Study, Late Summer in the Gallery Magazine Issue 37
In the early 1980s a friend and I accidentally discovered Kettle's Yard in Cambridge. It was a significant day as this extraordinary place convinced us both to apply to art college. It was seeing art in a domestic space displayed alongside gathered natural objects - flints, pebbles, feathers and seedpods - that was so inspiring. It seemed entirely appropriate to see a David Jones still life painting in this setting. I've always loved drawing and his subtle but graphic pencil line and layers of watercolour seemed to have such a spontaneity and light. It was the layering of still life elements, the way that patterns on ceramics seemed to flow in the space around them and the ambivalence between the interior and exterior that were unlike any painting I'd encountered until this point.
As drawing is an essential everyday activity for my practice I appreciate Jones' approach to his paintings where his lyrical pencil line is equal in significance to the watercolour. I make both watercolour and pencil sketches when out walking and in the studio as starting points for my own prints. Watercolour has a quality which I aim to recapture in the transparency of the inks I mix when printing. I set up still lifes in the studio using my collection of ceramics and glass along with cut garden flowers, seedheads, seaweed, feathers and pebbles, collected on daily walks.
For Nature Study, Late Summer (2015) I was particularly influenced by David Jones' Flora in Calix-Light (1950) and Briar Cup (1932). On recent visits to Kettle's Yard, I focused on the collections of natural objects such as pale grey-brown feathers scattered upon a shallow glass dish, a small glass jug of asters beside a twist of seaweed stem and Jim Ede's pebble spiral on a simple wooden table.
By including glass in my composition I hoped to capture some of the lightness of Jones' paintings whilst still keeping the qualities of my own work, which often displays the influence of mid-20th century natural history illustration. In preparation for my first solo exhibition of watercolours at The Scottish Gallery in Edinburgh earlier this year, I had an intensive period of painting which has resulted in an increased focus on layering of transparent colour, applied in the creation of this print.
Each of the six chosen colours is drawn using ink and lithographic crayons onto separate sheets of film, then exposed onto the screens for printing. Each printed separation will inform what will happen next, with colours and artwork being amended as the image takes shape - sometimes taking the print in a rather different direction than intended. This is the aspect of printmaking process that I find challenging but so satisfying.
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