I have been involved in printmaking since 1997 printmaking and in particular, intaglio techniques; engraving, etching, aquatint, mezzotint, collograph, sugarlift and spit bite offer a variety of sculptural tools. Contemporary printmaking is a combination of these known traditional artisan devices, photomechanical processes and digital technology. My current practice has involved personal research of industrial flexoplates and digital positives, to develop a continuous tone technique of polymergravure printing. The project will benefit from this acquired technical knowledge and my experience at the Centre for Print Research at the University West of England.
The longevity of artworks on paper has dominated the arena of printmaking, in particular with inkjet digital printing. Limited edition prints remain protected behind glass frames or stored between archival mounts within museum collections and if viewed from this end point, I believe narrows the artist's intuitive approach. In addition, the terms 'printer' and 'printmaker' highlights the divide between the print industry and the relegated artisan. Even with the evolution of digital printing, the fallacy of the giclée (An American terminology coined by Nash Graphics, translated as 'to spray') has merely contributed to undermining print's real scope for creativity.
By drawing inspiration from renowned artists such as Dieter Roth, Richard Hamilton, Albert Oehlen and Frank Stella, I intend to remove the process of editioning in order to focus on the multiple as a process of change. This will allow me to explore combinations of print variations in order to build upon a symbol system from within the artistic practice. The following tools will widen the creative approach to print, redefine print as an object and embody the research into the final work:
Radio frequency identification tags are inexpensive digital memory chips that can be attached to objects for the purpose of storing and retrieving data. It is an emergent technology that tracks objects using a unique identification code through radio waves via an electronic reader to a database. In 2006 The Arts Council England funded SPACE to provide workshops and a commissioning programme for artists to gain hands-on experience with RFID technology. I have been able to experiment with this equipment and attach passive RFID tags to my prints. For example, an artist's book edition could be linked by language rather than by number. The technology offers an interactive experience between the artwork and the spectator. Yasser Rashid a professional web designer and RFID digital artist will advise my initial progress. In addition I will gain technical support from the Bergen Centre for Electronic Arts. In this way RFID tagging can be used as a recording device to incorporate the research methodology into the final exhibition for further interpretation.
The precision of a laser cutter can melt, burn or vaporise material to create a clean and measurable edge or engraving. Architects and product designers use laser cutting to build maquettes and I have adapted this tool for my own artistic practice. Images are designed using CAD software and the laser driver is comparable to a print driver's construction of a half tone dot or vector line. I have recently started to use the commercial services of a 3-D modelling bureau and the acrylic printing plates produced by the C02 laser cutter are either inked in intaglio or relief. The laser cutter's ability to map measured dimensions onto both the paper and plates before, during and after printing opens up a three-dimensional approach to printmaking. Initially I will continue to use the laser bureau in London until I can source an alternative in Bergen.
With ten years experience utilising media arts software, I intend to use this project to move beyond two-dimensional rendering. The development of CAD software has increased the potential for artists to extend their perception of multidimensional space. Digital printing has steadily progressed since the 1980s and provides a flexible and effective means of exhibiting large-scale artwork. Stochastic screening software outputs a deceptively high resolution. The mathematical algorithm produces a random dot, removing the regular halftone that is usually visible from postscript printers and imagesetters. These tools will enable me to perceive multidimensional spaces, develop a measurable process to map complex shapes and combine continuous tone digital imaging with traditional printmaking from within the studio practice.
With ten years experience utilising media arts software, I intend to use this project to move beyond two-dimensional rendering. The development of CAD software has increased the potential for artists to extend their perception of multidimensional space. Digital printing has steadily progressed since the 1980s and provides a flexible and effective means of exhibiting large-scale artwork. Stochastic screening software outputs a deceptively high resolution. The mathematical algorithm produces a random dot, removing the regular halftone that is usually visible from postscript printers and imagesetters. These tools will enable me to perceive multidimensional spaces, develop a measurable process to map complex shapes and combine continuous tone digital imaging with traditional printmaking from within the studio practice.