Nature Study, Late Summer

Earlier in the year I was delighted to be asked by The Pallant House Gallery in Chichester to produce a new screen print to celebrate the opening of their latest exhibition, David Jones: Vision and Memory.

I've written about the inspiration for this new six colour print in the latest Pallant House Gallery magazine, but you can find out more online.

I was particularly influenced by David Jones' Flora in Calix-Light (1950) and Briar Cup (1932). Whilst working on the print I visited Kettle's Yard, focussing 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.

Angie Lewin - Nature Study, Late Summer - screenprint

Angie Lewin - Nature Study, Late Summer - screenprint

Angie Lewin - Nature Study, Late Summer - screenprint

Angie Lewin - Nature Study, Late Summer - screenprint

Angie Lewin - Nature Study, Late Summer - screenprint

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Stopping by Woods

I'm pleased to announce the launch of my latest small wood engraving, Stopping By Woods. Inspired by a favourite Robert Frost poem, this wintry print makes use of a rather unusually shaped end grain block that I'd been waiting to find a use for. Find out more

Angie Lewin - Stopping by Woods - wood engraving

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Moku-hanga

As part of my curation of The Masters - Relief Prints at The Bankside Gallery I was pleased to see a number of prints made using the moku-hanga technique. Unlike many relief printmaking methods which make use of oil-based inks, this traditional Japanese woodblock printmaking technique uses water-based inks which are applied to the cut wooden block. Handmade Japanese paper is then placed onto the block which is then hand burnished using a baren.

Below are prints from two artists who make use of the technique in their work.

Paul Furneaux is based in Scotland and exhibits his prints globally. His website includes some excellent notes about his approach to the moku hanga technique.

Born in Osaka, Japan, Nana Shiomi studied oil painting and printmaking at the Tama Art University (BA, MA), Tokyo. Shiomi came to London to study contemporary art and received an MA in printmaking from the Royal College of Art in 1991.

The Masters - Relief Prints run until Sunday 15th November at The Bankside Gallery, 48 Hopton Street, London SE1 9JH. Find out more

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Paul Furneaux 'Sunlight Garden' (54 x 74cm)

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Nana Shiomi 'Garan-Do, Autumn' (80 x 107cm)

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The Masters – Relief Prints

Many thanks to everyone who came along to the opening of The Masters - Relief Prints, the first in a series of technique-specific annual exhibitions presented by the Royal Society of Painter Printmakers.

I've had the honour of curating this event which runs until the 15th of November 2015 at The Bankside Gallery, next to Tate Modern.

Thanks to all of the artists who have made the exhibition possible. The quality of work submitted was impressive and it was a very tough job narrowing down the selection of works exhibited from over 1,100 submitted prints - the exhibition features around 160 works by 150 artists. Below are a few images illustrating the diversity of the work on show.

The Masters - Relief Prints until 15th November 2015 at The Bankside Gallery, 48 Hopton Street, London SE1 9JH.

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Gail Brodholt 'Factory Junction' linocut (55 x 90cm)

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Jonathan Ashworth 'Home From Playground' woodcut (50 x 67cm)

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Justin Knopp 'In the Midst of Life I Woke' letterpress (51 x 71cm)

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Steven Hubbard 'Fireworks' linocut (24 x 33cm)

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Laura Rosser 'Golden Girl' woodcut (130 x 150cm)

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Melvyn Evans 'Tugboats on the Thames' linocut (57 x 39cm)

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Saltmarsh, Morston

 I'm pleased to share details of my latest limited edition print, 'Saltmarsh, Morston'.

This screen print is based on sketches made on the North Norfolk coastline on a sunny, breezy day, sitting on the saltmarsh amongst the sea campion and thrift, looking through the grass and flower stems. Across The Pit, a narrow stretch of water, I can see Blakeney Point. Strong yellow discs of cat’s ear flowers (also known as flatweed) stand out against the pale chalky colours of the other vegetation and the bright blue early summer sky.

You can find out more about the print and view a selection of my current editions over at my website.

Posted by Angie Lewin

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Brick House

If you're familiar with the work of Edward Bawden and Eric Ravilious you probably will know of the Brick House in Great Bardfield in Essex. This was their home, along with their wives, Charlotte and Tirzah, for a few years in the 1930s.

The illustrator and printmaker, Alice Pattullo, has recently created an ingenious and characterful fold-out replica of the house for Design For Today. With rooms filled with the objects you would expect to find from cats and patterned wallpapers to Bawden's printing press and cast iron bench, there's a wealth of detail. There's even a sheet of cut out extras including the two artists themselves looking rather like Gilbert and George.

Alice Pattullo is an illustrator and printmaker working in East London. Her work can be found at the V&A, The Higgins, John Soames Museum, Cecil Sharp House and in the pages of design and illustration magazines, Alice is inspired by the folk traditions of England and influenced by the mid-century printmaking of artists such as Edward Bawden and John Piper.

Design For Today was founded by Joe Pearson, an established collector and writer on mid-century lithography. As one of the country’s experts in his field Joe has given talks at several institutions such as the Double Crown Club, St Brides Printing Library, The House of Illustration and the University of East Anglia.

Find out more and purchase a copy of Brick House from Design For Today’s website.

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