I have had a funny day and intended just to follow Julie’s request and put the ohp prints (I’m assuming these are acetates Julie?) over the sacrificial dictionary (which is a seemingly endless gift).
And I thought then I’d finished with ex 1 (that has gone more into ex4) and it was time to start ex 2.
I started with painting on to the gelliplate with acrylic using a standard paintbrush. But the day was hot and before I’d even placed the paper the paint had dried (I know you can get acrylic medium to slow this process but 1: I don’t have any and 2: I’m still determined to make do with what I have and buy only out of necessity).
However, it has a simple gesture and appeal – somewhat recalling Miro and close-ups of Kandinsky’s work. I then tried using watercolour:
And managed to lift 2 paper and 2 acetate prints from the same plate. I was confused what looked odd about it , then realised the print image was reversed (duh!).
I then tried thicker watercolour to see if I could paint and hold the compositions for longer before it dried or beaded:
Again 2 paper, 2 acetate. The colour was beginning to stain the plate so I applied water and took some prints: firstly acetate and then paper, to see if I could lift the ink, which I did manage to some extent, but there is still some residual staining.
Real change to the colours as the water blends the pigments.
Feeling not too enchanted by this exercise and realising I had to go away and do a bit more research or forward planning I decided to play with other colour mediums.
I had one last go painting with watered down acrylic straight on to the gelliplate:
Not really anything to talk about here.
So, more experiments: first brusho on water: to wet and dry paper (the top left hand corner and ghost print immediately below were wet paper; after that I used the brusho in combination with alcohol inks. The effect on paper was rather dull and no different from painting straight on to the paper with these paints.
I liked the wet paper, and wondered what to explore next to push this. I made the gelliplate wet, the applied alcohol inks, then brusho and took first acetate print and then paper. What an impact this had.
It is very difficult to focus the camera for this print. I decided that I preferred the painted surface down and shiny side up as the mottled marbling and flow of colour was delicious – like something inside an agate. I am quite smitten with the quality of light and colour printing to the ohp translucency presents.
I thought, what if I’ve used the colours of ‘The Green Heart’,
What if I continued this experiment using more blood colours. I selected red alcohol ink, scarlet brusho and brown brusho.
Then this whole project came alive in front of my eyes. Suddenly something a little disturbing was emerging in front of my eyes. The colour and consistency recalled the blood slides of early childhood when you could take a finger prick, put a drop of blood on a slide and look at it under a microscope. The way the colours swam in the space between gelliplate and acetate could be controlled by exerting different pressure and lifting the transparency at differing angles. The results are rather gruesome but drenched in potential.
I played with the backing: white paper, dictionary paper:
This was crying to be developed in to more. Out came the 3D pen. What is going on here? Some murder scene? What has been murdered in my life? What did the past try to murder? My soul? My heart? My voice? Yes, my voice, my words, my truth. I wrote the language of the hurt in 3d pen, layered it under the acetate, scrunched up the dictionary page and topped it with the metal cage, the net that was used to print the blood vessels of the heart.
Now this feels ‘me’.