Fine Art Prints
| Limited Edition Print Releases |
Selected Photo works are specifically chosen to produce as photogravures since 2019.
From time to time, a single limited edition print release will be available to purchase out of these collections.
Currently enjoying the organic process of growing a wide body of work over time -its draws my interest and discovery of new motifs.
Adding gradually to a series at intervals on a cyclical seasonal basis TIME RESPONSES.
( Portfolio Under Development HYPHAE SERIES 2020 )
Underland Series 2019 / 2020
Web Land Series 2018 / 2020
Botanical Series 2019 / 2021
Mid Winter Series 2019 / 2021
La Gomera, Finca Series 2019
Göta Älv 2021 / 2022
Bespoke Boxed collections up to 15 images can be ordered by request.
ABOUT PHOTOPOLYMER GRAVURE
Original Photogravure is an intaglio printmaking ´photo-mechanical´ process used today in modern commercial printing industry produced on Rotogravure Press. It's not directly a photographic process in the traditional dark room sense, but it is derived from methods first developed of photography in early 19th century. Czech painter Karel Klíč, in 1878 built on the original photography techniques by Henry Fox Talbot's research into Photographic Engraving. ( There is also lineage that stems back from Nicéphore Niépce, Heliography method )
The Photogravure process is a not so commonly used today due to lengthy, toxic, chemical based process. It takes many stages to make a grained surface pattern on a metal plate (usually on copper) just as traditional Intaglio plate . Careful preparation is needed to expose a film positive over the top of a light sensitive gelatin film results in an image that is permanently etched on the substrate, that can then be reproduced over and over, with a high level of detail and continuous tones. Closely resembles as grainy as a photographic print, but in a unique depth and quality of its own.
Today's Alternative Photopolymer Gravure process, is a simple contact transfer process - a safer non toxic method of image transfer onto a substrate of metal coated with photo sensitive emulsion, thats exposed with a transparent positive, developed in water and cured to make it suitable for making multiple prints. This newer method has been adapted from industry's planographic printing process used commercially, but now has been taken up and made safer by artists and graphic arts industry since 1990's. It can be used to produce finely detailed works or experimental in combination with other forms of printmaking.
Always looking for a means to combine my digital captures with a hands on analogue printmaking process.
A play between analogue to digital processes - and visa versa. I felt comfortable by using a safer method for my artworks. I wanted to consider my health and in turn be environmentally conscious. What photopolymer offered was a way to combine digital and analogue together without harsh toxic materials and the lengthy stages of photogravure. This has been sitting with me since graduating from art school, I was at the beginning of testing the new processes over 20 years ago, when I started my first job, working in film & darkroom lab developing prints for a photographic studio. This was just around the time of when the digital technologies started to be more widely introduced.
Curiosity for a type of photographic works started back in 1995, during my final year, I produced a series of Large Photo Etchings on copper with a product called IMAGE ON, introduced to me by printmaking technicians and tutors at the Art Collage U.W.E Bristol. After big break from printmaking, I did brushed with it again during my time as a printmaking tutor at the Bluecoat Art Centre, Liverpool. Running advanced courses in Printmaking, we produced photo collages using Image On and Lazer-Tran. It wasn't until recently I actually dove back into it fully whilst learning how to transfer images through the safer alternative process of Photopolymer Gravure.
October 2019 I attended a workshop with the highly inspiring Henrik Bœgh, at Grafisk Eksperimentarium in Copenhagen. Over the past few years I have been testing and adapting this technique with the hope to further advance my use of alternative non toxic methods for protecting the environment and healthier conditions for fellow printmakers at the print studios I currently active with here in Sweden.
Photopolymer Gravures I produce are individually hand pulled prints on high quality, heavy weight printmaking paper, I mostly use Hahnemühle German Etching. They begin life as an unique digital capture, derived from a series or a theme in nature that I periodically undertake throughout the seasonal year. After careful digital processing to convert the digital image into greyscale to suit the process, the image is transferred onto a transparent film before being time exposed on a ultraviolet light unit. The transparent positive is tightly sandwiched on top of a light sensitive metal plate ( Toyobo KM 73 ) and between a vacuum bed and piece of glass during a set exposure time. During this contact the image is transfered to plate and is then etched in a water solution, to develop and in grain on the surface before being hardened back on the UV light unit and then ready to print.
I print all my plates by hand in the traditional Intaglio way. Each unique plate is individually hand inked and wiped to sensitively pick up fine photographic details from the delicate etched surface. They are run through a traditional flat bed etching press ( pressed under a heavy steel roller) and sandwiched between dampened etching paper and fine woollen blankets (felts). Each time I print, this method produces a unique set of photographic printed works, sometimes with quite unexpected results. The detail in the tonal values are which I find so particularly interesting with this method of working. My eye and hand intricately work at each stage of the process, to translate its own visual language with a certain subtle characteristic of definition and depth of tone.
Each edition from the same plate can be unique in its own way. This adds to the originality and it is not my intention for every print to be an exact reproduction of the last. That would be mechanically machine produced. The images are inked by hand in rich striking monochrome and sometimes as soft duotones, depending greatly upon what I choose to enhance and resonate through each photographic impression. You could say Original Multiples is an a contradiction in terms, but simply put they are a variation on a theme.
I mostly produce works in a series, steadily taken from my own photographic captures, which group together as a ranging PORTFOLIO.
Also in development behind the scenes are experimental amalgamations. I am interested in mixing other forms of printmaking techniques such as copper etching using a safe ground and photopolymer, carborundum for adding textured colour, and playful tetrapack collotypes. These are ongoing experiments I shall continue in the background until I have a method I am happy with - Check back in on Instagram for any updates.
The most recent Limited Edition Print Releases will feature on this page, but more information about my previous photographic works, kept in the archives are available upon request. Please email to peruse this archive list.
From time to time, I'm open to commissions and opportunities for photographers and artists to produce their works through this alternative photographic process. I tailor make prints to your specific designed project. Individual Quotes & examples available.
Contact me direct to discuss your unique project idea.