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What has been interesting in the last period at DKW is the range of techniques used by artists working there. From monotype, to etching, pochoir, lino and wood engraving, each artist had the chance to experiment with their technique(s) of choice. The resultant work is a testament to the diverse nature and collaborative environment of the workshop.

Bronwen Findlay came into DKW a couple of weeks ago to elaborate on her paintings with her unique style of creating monotypes. The theme of experimentation was evident when she arrived equipped with a basket of props to employ in the creation of her works. In the basket she had a garland she wore at her sister’s wedding twenty-five years ago, flowers, ceramic plates and embroidery patterns to name just a selection. Her dedication and preparation paid off in the creation of an exciting selection of new monotypes. For one, an iris is passed through the press repeatedly to allow it to create its impression in the paper, the juices of the flower mingling with the ink, the petals shielding the paper from ink and creating a work seldom seen. Later the iris was painted on the press and recycled to form a new vision awash in colour and the fragments of life, such as golden string and cigarette cards. Working in layers of colour, Findlay produces surface depth, while texture is added by the remnant of the object – a working process very similar to her method of painting

In contrast Ryan Arenson focused more on etching and engraving techniques. He is working on a body of print works for his upcoming show, using the motif of a circle, as well as an image of a girl taken from a painting by Picasso, Child with a Dove and that of a man from Durer’s The Penitent. Arenson has created etchings onto copper plates of the circular motif which are being printed as a series of finished works. Two more tiny etching plates, one using Durer’s The Penitent and another of the girl from Child with Dove are also being printed. He is also adding hand painting to some other prints, as well as two larger versions of the man and girl etchings, this time using linocut circles, etching and the pochoir technique to make up the image. Ryan’s dedication to printmaking is evident in these new works: it can be seen in the intricacy of his imagery and in his choice of extremely time-consuming and labor-intensive techniques. His time in the studio is not something he sees as a once-off, but rather as a practice which he would like to pursue and sees as part of his artistic identity.

During her time in New York last year, Wilma Cruise created a series of screen prints as well as a three-plate work which was never printed. The three-plate print was finally realized at DKW this month, and forms part of a body of work for her up-coming exhibition. The colours employed and her figurative drawings, create a common thread between her screen-prints, her three-plate etching and her monotypes, which work as a visual stream-of-consciousness. The latter works, based on images of her grandchildren whom she visited in London, were created with monotype crayons. Cruise used these by drawing directly onto the Perspex bed of the press and by creating washes by mixing them with water. The results were fantastic, and an exciting starting point for cruise who has since developed the prints into an installation.

The humour and satirical element which Bruce Backhouse conveyed in his new works brought a wry smile to everyone’s face. In his latest monotypes, Backhouse has managed to achieve a quality similar to that of his watercolours by using turps. Printmaker Niall Bingham said he had never seen anyone accomplish this result before. The watercolour effect is particularly apparent in Backhouse’s tongue-cheek beach with his portrayal of humorous beach characters: a gay couple, sun burnt holidaymakers, a man with a very hairy back. Backhouse has included everyone in this work. He has also incorporated frames and wallpaper in his other monotypes, referencing Edwardian style and its twee-qualities. This is a brave departure for Backhouse, and it is evident that he is becoming more and more comfortable every time he comes back to the workshop.

For information on the latest developments in the workshop, as well as information on various printing techniques, please check back on our website.

Keywords: Bruce Backhouse, DKW, Etching, monotypes, Print Workshop, prints, Ryan Arenson, Wilma-Cruise