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| Colour print out of monoprint composition created previously |
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| Drawing of composition with start of pin pricking process (reverse of finished piece) |
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| Front view |
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| Detail |
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| Completed composition |
I wanted to continue to experiment with using mark making to express different tonal values and depth so I decided to go back to working on cartridge paper and instead create interest by using mark making from different sides of the paper, different angles of entry into the paper and different densities of pin pricks. I think this has worked particularly well, with a real feeling of depth to the composition.
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| Same composition using kitchen foil as substrate |
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| Work in progress |
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| Complete, laid flat on table |
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| Pinned to sunny window, photograph taken from one side |
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| Pinned to sunny window, photograph taken from directly in front |
I thought my previous simplified experiment with kitchen foil had worked well, but I wanted to experiment with a more complex composition using this substrate. I was interested to see if the reflective quality of foil would add an extra dimension to the work - I was considering my theme of presence and absence and wondered if I could allow the viewer to interact directly with the work, becoming present as they are reflected in the work and absent as they move away from it.
I think this is a dramatic piece, particularly when viewed in daylight with the sun shining directly through the holes. The light itself creates numerous reflections from the surroundings and these change according to the movement of the sun and the position of the viewer relative to the work. The more densely pack the holes, the greater the effect.
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