STATES OF CONTRADICTION

states-of-contradiction2.

States of Contradiction 1 – Conviction

Free Standing Lead Glass Sculpture

approx 60 x 45 cms

My work is often concerned with the relationship between two opposites.  In States of Contradiction 1 – 3 three screen-printed and slumped glass works weave text and image in a warp and weft of what is said and what is done in war.

 This work was produced as the culmination of a residency in 2002/04 at The University of Hertfordshire organised through the Artist’s Access to Art Colleges Scheme (AA2A) and Funded by ACE & CHEAD

 This work was selected for exhibition at the 2004 Greenbelt Festival ‘Freedom/Bound’ at Cheltenham Racecourse.

  States of Contradiction 1 - Justice

States of Contradiction 2 – Justice

Free Standing Lead Glass Sculpture

approx 60 x 45 cms

States of Contradiction 3  States of Contradiction 3

Lead Glass Wall hanging

60 x 45 cms

 This work is concerned with ‘prisoners of war’ who are bound and confined, without due process of law and in contravention of the Geneva Convention.

The weaving of the horizontal text and vertical images symbolise the dichotomy between two opposites and highlights the disparity between sentiments expressed within the American Constitution and the practice of holding prisoners at Guantanamo Bay, Cuba

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BESPOKE MEMORY PRINTS

PART TWO – PLACES

Last year I completed a commission for The Falcon Hotel in Rutland.  It’s a very old 16th century coaching inn situated in the centre of the historical market town of Uppingham, just four miles from the shores of Rutland Water in the heart of the natural splendours of Rutland.

The owners had some very old photographs of the Inn through many of its incarnations which were in a bad condition.  He was interested and proud of the history of the building and wanted to preserve some of its history and celebrate it on the walls of the Hotel.

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Falcon Coach Photo-001       OLYMPUS DIGITAL CAMERA

This project required a lot of renovation work using Photoshop software and took a lot of time to restore the picture, often pixel by pixel.  As you will see from the original photos many had deteriorated or had been folded or stored badly; and some were just not up to the correct quality for my photo-etching technique.  Below are some of the many stages needed to improve the image (eleven changes in total).

Falcon Coach Photo -003     Falcon Coach Photo - 3rd changes     Falcon Coach Photo - 6th changes    Falcon Coach Photo - 9th changes

A first meeting was held at the Hotel and the changes were approved.  I could then go ahead and create my plates.

The photographs were printed onto OHP film in the right size, black & white and with good contrast, sometimes it was necessary to posterise the images using a Photoshop Filter.

The acetates were positioned in close contact with the Solar Plates and exposed to ultra violet light which were then developed and light hardened.  Once they were dry the edges and corners were bevelled so as not to cut the paper when passing through the printing press.

panelled fireplace 4b reading by the fire -6th change The Falcon  OUTDOORS X-001 The Falcon manipulated The Falcon courtyard from back 3

Each plate was then inked-up with oil-based Intaglio printing ink and passed through the press with the dampened 300 gsm Cotton Rag paper.  Once through the press the paper was stored flat under pressure in order to dry. A final visit was arranged for me to present the owner with the finished prints which now hang in the hotel entrance.

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The framed works displayed in The Falcon Hotel   100_5154

BESPOKE MEMORY PRINTS

FdR - even better print

PART ONE – FACES

Recently I have been working on a new commission.  I provide a service for clients who want an artwork that encapsulates key parts of the character of a loved-one, as a personal momento or as a gift.

We discuss and sift through a staggeringly large array of photos, certificates, maps, crests, coats-of-arms or items specifically poignant to the person being represented – for instance, in this latest commission there were betting slips, recipes and postcard messages to be considered.

selection of books 3            100_5672            Alien registration 8

Some of the ephemera used to build up a picture of a client 

The job of choosing the items to be represented is very important.  It is vital to choose what is relevant and sentimental, whilst balancing that against the more artistic aspects of these documents.  Handwriting works well, as does linear artefacts like crests and coats-of-arms but a jumble of disparate bits and pieces will detract from the visual success of the finished piece.

For this commission I chose a good photo of the subject (of the print) that was of high quality and had good contrast of light and shade, to be the base image.  For the second image I cropped and altered the faces from a stack of photos depicting loved ones covering four generations of this family.  These faces were then arranged as a grid that would be printed over the darker base image.

  photos pixilate Many phils

 The third plate was to carry most of the various additional ephemera provided by my client.   I started by arranging things into some order and scanning in a pile of the birth and marriage certificates.  Then I picked out bits of meaningful written messages and dates.

Nonno's details of birth cert    FdR passport - inverted Certs pixe

A further third meeting with the client resolved what to include and what to exclude from the third plate, the things that would carry the real emotional punch – looking through past commissions it was agreed to include some crests and appropriate ones were chosen.

Once the content of each plate was agreed it was necessary to create an image onto acetate (OHP) film in the right size, black & white and with good contrast, often posterised using a Photoshop Filter – this is important for the Solar Plate process.

PhotoChronological compilation1FdR certificates

 Plate One                          Plate Two                        Plate Three

The acetates were positioned in close contact with the Solar Plates and exposed to ultra violet light.  The plates then needed to be developed and light hardened.  Once they were dry the edges and corners were bevelled so as not to cut the paper when passing through the printing press.

Each plate was then inked-up with oil-based Intaglio printing ink; the first plate was passed through the press with the dampened 300 gsm Cotton Rag paper.  Once through the press the first plate was removed and the second plate – inked in gold – was put in its place.  Then the second was removed and the third – inked in silver – replaced the previous two.  In this way three images were printed one on top of the other creating a three-plate layered etching.

Nonna-1   FdR3   Doms - Best version   Final Print   Marjellen

Some Finished Prints

Please contact me on sheiladerosa@btinternet.com if you would like to commission a print,

FEEDBACK FROM MY LOVELY CLIENT 

Hello Sheila,

Just to let you know, the commission was a great success and both mum and dad loved the works. It turned out we had used one of dad’s favourite pictures of mum, and when we handed it over (Saturday evening as Sunday was going to be a busy day), mum realised that the image had been taken exactly 40 years ago, probably to the minute, as the photo was taken 2 days after the wedding at an evening drinks do arranged by my nana! Very strange! Another strange thing was that mum said she used to sign her name very much in the style in which you titled the pieces!

Mum and dad seemed keen on framing it and hanging it in the sitting room so it’s definitely going up soon! Mum liked the idea of a black box frame, so quite similar to what we thought. Thank you so much for all your efforts. We all love the work very much.

Karyn & Jules
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