Acrylic/ink on canvas board, Mari French 2015.
I’ve enjoyed painting a few more of these small abstracts this past week, just in time for Norfolk Open Studios this coming weekend. I’m opening 23, 24, 25 and 30, 31 May up in my eyrie – my hayloft studio in Harpley, West Norfolk.
If you’re able to visit you can see them in the flesh! This link will give details and map.
Acrylic/ink on canvas board, Mari French 2015.
Acrylic/ink on canvas board, Mari French 2015.
Untitled, Mari French 2015
It was good to be back in the studio painting last couple of days, after nearly three weeks of a horrible chest infection picked up on holiday in Venice.
These are two small works in acrylic and Inktense stick on canvas board I finished today. I’m hoping to produce a few more before Norfolk Open Studios in 10 days, so I’ll have a few affordable pieces available aside from recently framed collagraph prints. I admit I’ve been panicking a bit wondering if I’d be well enough to prepare in time!
As with much of my recent work, these are inspired by Norfolk’s Saltmarsh Coast and I’ve deliberately kept to a limited palette of two acrylic colours plus my favourite Inktense colour, which I think adds to their atmosphere. I love the way the Inktense works with the canvas grain when I use it with lots of water.
Still thinking up titles.
Untitled, Mari French 2015
Printing collagraph with Chine Colle. Mari French 2014
I recently moved the printmaking side of my art business to a new venture in my home village of Harpley, Norfolk. Norfolk Design Gallery is where glass artist Fi Kilpatrick, architect Lara Hall and myself work at our respective crafts and display and sell our own work and that of other makers and artists.
I’ll still be painting from my lovely rustic studio but printmaking at the new place a couple of days a week. I’ve been getting set up the past few weeks but have been creating and printing collagraphs the past week.
I’ve just tried out the technique of Chine Colle, which is where thin piece/s of coloured paper, such as Japanese handmade papers, are placed onto the inked-up plate with the addition of a little dilute paste and run through the etching press. The paper then becomes laminated to the printing paper with the inked image over the top. It can add an interesting dimension to a print.
My first results you can see here. I’ve used a lovely buff coloured Lokta paper, which has small flecks of natural materials in it, for the chine colle. This was also the first time I’d used shellac varnish (also known as Button varnish) in thin coats to seal the plate before inking, instead of the water based DIY varnish I usually use, as I’d read it can allow more of the texture to be retained.
This particular image is based on sketches I produced on my recent art residency at Brison’s Veor, Cape Cornwall.
Collagraph with Chine Colle. Mari French 2014
A couple of other collagraph plates, below, that I’ve recently been working on… I prefer the actual plates to the results sometimes!
Collagraph plates. Mari French 2014
Mari French RI : contemporary artworks 