Part of a recent series of over one hundred carborundum prints made at The Printroom, Sweffling, have been developed through research and review of past projects in different media. Made as instinctive and direct when printing, the reduction and addition of inks means each print is unique and deliberately blurs the idea of printmaking and duplicating imagery. The exhibition also includes geometric aquatint etchings reprinted to re-process ideas of formality and pattern interpretation.
Conversely paintings made before and after the monotypes are gradual, reworked accumulations onto canvas and board, materials, mid-flow, agitated or calm, broken down and re-applied. Multi-interpretations, incorporating materials associated from architectural and landscape commissions and association how materials change, patina of floors, imperfect plaster, chiaroscuro walls, displacement and renewal are part of the development of the work.
Metallics and reflective materials have been layered into prints and paintings as a deliberate challenge to perception, aesthetic versus grime dissolve of turps, performing as part deflection and part appeal.
Since moving to Suffolk in 2005 with her family Amanda has embarked on a series of projects for clients developing her ideas in architectural and landscape design. Returning to the studio and painting in 2008 using new materials associated with these commissions.
Combined with her practice experience from different fine art disciplines, etching techniques in both printmaking and architectural glass and a continuing interest in pattern, her studio work became more architectural.
The works are narrative, multi-layer and fluid. A strong association with how materials change and wear over time suggest the historic narrative of architecture and landscape, patina of polished marble floors, imperfections in plaster finishings and the chiaroscuro walls of old buildings.
Suspending marks and activating the physical surface as layers of paint fuelled the most recent paintings and prints. Colour bringing extra vividness and melancholy, agitated with vibrant edges.
CLICK HERE FOR MORE AND TO FIND THE CUT, HALESWORTH
28th February to 8th April 2023
Open Tues - Sat. 10am - 4pm
The Cut. 8 New Cut. Halesworth. IP19 8BY
Loop has been curated by the artist and writer and critic Celia Lyttleton. Printmaking has been made possible with the the continued support of Monica Petzal at The Printroom Studios, Sweffling, Suffolk.
About the author
Paul Barratt
Paul Barratt started working in contemporary art galleries in 1989, having graduated in Fine Art from Goldmsith’s, London University. He initially worked at Anthony d’Offay Gallery, one of the contemporary art dealers, who dominated the London art market in the 80s and 90s. He was approached by the Lisson Gallery to be gallery manager for the influential art dealer Nicholas Logsdail. This was followed by a short period in New York at Gladstone Gallery, to work for visionary art dealer Barbara Gladstone, working with the artist and filmmaker Matthew Barney.
On his return to London, Paul secured a place on the postgraduate curatorial course at the Royal College of Art, to complete an MA. After graduation in 2001, he worked as an independent curator on several projects in Oslo, London, Brighton and Basel, before joining Paul Vater at his design agency Sugarfree in 2004. He has worked with Paul ever since.
