Fields and Furrows
A Silver Lining, Roseberry Topping will be on display
The exhibition runs from 1st until 24th September 2018 10 am to 4 pm each day and features 10 of my original prints and a selection of giclee prints and cards.
If you live in the area or are passing through, do drop in and take a look.
I’ll be there on Saturday 1st September 2 - 4 pm to welcome visitors.
Two other artists and a textile group are taking part:
Threading through the Moors
Diverse Threads is a group of York-based artists with a passion for textiles. They each address the landscapes, colours & textures of the North York Moors in an individual way to produce a riot of colours.
Moors and Shorelines
Mark Sofilas’s paintings are inspired by the idiosyncrasies of the northern English countryside, bringing to his work the perspective of someone who originates from a very different landscape.
Local woodworker David Hannah creates unique decorative mirrors and furniture using a wide variety of British hardwoods, mainly sourced from North Yorkshire. David’s philosophy is that art and functionality can be combined to create truly special pieces of wooden art.
My exhibition theme
“Printmaker Rebecca Vincent interprets the rural landscape as a colourful pattern of inter-connecting shapes. Using a wide variety of textures and intricate details, her hand-printed etchings convey a delight in the countryside.”
Inspired by the North East landscape
I’m always on the lookout for dramatic landscapes that I can interpret through either etching or monotype. To get a composition to work in these media, I have to radically simplify and stylise so I look for a small number of key elements and colours that will translate into my style. The agricultural patterns of the North East have been an ideal starting point for my patchwork landscapes. Sometimes people walk into my studio and recognise that I have interpreted the landscape they have just visited. However, the majority of my images are not views as such but imagined landscapes constructed from elements that are strongly reminiscent of particular places.
The printmaking techniques themselves are a constant source of inspiration as I experiment with them and find opportunities to make marks and textures that connect to my subject matter.
How I made the etchings
My etchings are printed in multi-colour from two copper plates. I can interpret the landscape using a wide variety of marks: fine lines for the winter trees, textures and patterns for the fields and soft spit-bite washes for the sky. I work with acrylic resists rather than the traditional method. The plates are inked with up to 16 colours using the “A la poupée” method where I carefully blend the colours on the plate with small pieces of scrim. By using more than one plate, I can create some rich colour interactions that really bring the landscape to life.
How I made the monotypes
My monotypes are worked in a more expressive way using several layers of coloured ink printed from a smooth plastic board. The rolled out ink can be manipulated in many different ways using cloths, cotton buds, sticks and pieces of card to lift ink away. I also create patterned areas by using fragments of textured papers and fabrics, applying ink and printing them. By cutting and tearing paper stencils to print with, I can create crisp horizons in the composition.
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