Yearly Archives: 2015

Maureen Nathan

My art practice is based on drawing. I work figuratively and mark making is the visual language that I use, allowing me a dialogue with myself, a way of working things out, to place myself in relation to the world I live in.

I am drawn to relationships between people and the narrative that exists when people engage with one another and often when they don’t. Lack of engagement can work like the negative space in a composition, highlighting the emotion in the narrative even more.

Relief printing excites me and my favourite printing method is linocut. I draw with cutting tools straight into the lino, sometimes using sketchbook drawings as reference, but most often from life with the subjects or motif in front of me. The active creation of the image, manipulating the material by hand while creating the composition, often adding collage and paint, gives me a great deal of pleasure. The magic moment of pulling the first print is always exciting.

I enjoy learning more about using shape and form through the medium of printmaking to create depth and weight in an image and find that it translates into a clarity in my painting work too.

www.maureennathan.com

Christmas Open Studio 2015

This year’s Open Studio (click here to RSVP) will take place on Thursday 3rd December from 6—9pm at East London Printmakers, 19 Warburton Road, E8 3RT and is kindly sponsored by The Five Points Brewing Co. so you can enjoy some delicious beverages on the evening. For those who have never been to one of our Open Studio events, here’s what to expect.

There will be an exhibition of prints displayed throughout the print rooms, many of which will be individually priced for sale, alongside a selection of prints that will all be marked at the affordable price of just £10GBP and the chance to win fabulous prints via the ELP tombola!

This night will also mark the launch of our infamous annual ELP Box Set which has been archived at the V&A Museum since 2007. The Box Set  is open for all members to participate and is intended to promote the co-operative nature at the heart of ELP, there are currently over 60 members who participate each year. There is no theme to the Box Set, however the paper size of all prints is kept the a uniform 30 x 30cm square throughout all editions. The paper and this is kindly donated by John Purcell. The prints are housed in boxes made by specialist luxury boxmakers G. Ryder and Son, a family run firm based near Milton Keynes. Each year the box lids are designed and screenprinted onto by ELP members.

Come along and meet ELP keyholders and members for a beer or two.

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RSVP to the Christmas Open Studio 2015 here.

Fabio Lattanzi Antinori — Artist In Residence

Fabio Lattanzi Antinori has a number of qualifications to his name, including MA Communication Art & Design, Printmaking and MFA Computational Studio Arts. He has been exhibiting work professionally since 2009 and was selected as the Artist in Residence at East London Printmakers in 2015. Fabio uses the medium of print alongside sculpture and interactive installations to create his socio-political works. He often begins with raw data as a starting point, creating layers of symbols and meaning to form visual systems.

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Dataflags: Lehmann Brothers 2014
Somerset paper, screenprint, data from the last ten years of Lehman Brothers’ financial trading, electric paint, soundsystem, custom code, voice soprano (Madge).
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The Dataflag series deals with the notion of failure in the corporate world; the first installation of the piece at the V&A in London, focused around the raise and fall of Lehmann Brothers. Much inspired by corporate flags and banners, which serve the purpose of glorifying the identity of companies worldwide, Dataflag is a screenprint on Somerset paper; when touched it tells the story of the company, by singing the last 10 years of daily financial data to the audience. It is a corporate flag of bankruptcy and failure.

The story follows a very detailed script; every time the flag is touched, a new set of numbers is announced.
These numbers are the share price of the Lehmann Brothers. The artwork, through using a language known only to a few experts in the field of finance, it narrates the ups and down that featured the company’s progress towards the terrible moment of the bankruptcy, a contemporary take on a tragedy of our times.

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Fabio Lattanzi Antinori, Dataflags from Museum of contemporary cuts on Vimeo.

The will be a pop-up exhibition of the work created by Fabio Antinori during his Artist in Residence at ELP on Thursday 12th November 7:00pm.

www.lattanziantinori.com

Dolores De Sade — Interview

Dolores mainly draws the wildernesses that can be found in and around London — often liminal spaces such as waste grounds, abandoned parks, motorway verges, unloved front gardens. She is interested in what landscape means to us today, exploring our experience of such as an industrialised nation and how it is distilled through popular media. Influenced by eighteenth and nineteenth-century book and periodical illustration, she finds ways that information is given the authority of knowledge and how knowledge is transposed through memory, nostalgia and archetype.

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Dolores did her MA Printmaking degree at Royal College of Art and was made a Royal Etcher shortly after. Her work is held in private and public collections including V&A, Government Art Collection, British Library, Ashmolean Museum, Royal Shakespeare Company, Royal College of Art, as well as in public collections in China, Thailand and Japan.

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Dolores has been a keyholder at ELP since 2008, we sat down with her to ask her some questions:

What made you join ELP?
Well, the equipment is fantastic – as good as RCA or anywhere else that I have printed. It is clean and allows me to work on a large scale. But the thing that most drew me the most was working in the supportive environment of other artists. It is such a friendly place with a huge mix of different artists and designers. It is great to share knowledge, skills and ideas.

What is one of your favourite moments with ELP?
Too many! – I love having the variety of Artists in Residence. We get AIRs from all over the world and it is great to be able to work alongside them and learn from them. I love teaching here too – I had a brilliant teacher who inspired me greatly, and if I manage to communicate even a small part of that passion it makes me very happy.

What benefits do ELP members get over Open Access users?
The opportunity to take part in ELP exhibitions and fairs. It is always interesting to see your work in a shared context. And because most of the work is shared amongst volunteers you get hands-on experience of the full planning, organisation and exhibition process. Taking part in fairs has been really good – you get the chance to learn from more experienced keyholders the many different ways to present and sell your work. Opportunities like the annual box set are good too – the first time I took part in the annual box set was one of my first opportunities to complete a big edition. Quite challenging for me at the time, but I learnt a lot about printing and I got to say that my work was held in the print collection at the Victoria and Albert Museum, as well as getting a copy of all of the prints to own. Mainly I just enjoy being part of a community – the members can suggest exhibitions or other ideas for us to take part in and there is such a large number of people here, there is nearly always a group that can help to take that initial idea forward.

How often are you found using the facilities and what is your most used process?
My process is almost always etching. I do sometimes try to do other things, but I love the process and it is closely linked to my work conceptually so I am always drawn back to it. I use traditional techniques and equipment that have barely changed for hundreds of years.

How much I am in the studio depends – I can spend up to two months drawing one etching either outside or in my separate studio, but then I will be in quite intensely: proofing, trying different printing, papers, and inks. I know my work is mainly black, but there are many different colours and densities to the blacks that I use, that all make a big difference to the finished piece! Once I am at the proofing and printing stage I work quite intensively – I find it difficult to sleep until I have solved all the issues that I have found in the plate once it is proofed for the first time! It sometimes takes me a couple of weeks of long days in the studio until I am happy with the finished print. I also like the quiet and peacefulness of early mornings (- before anything in the day has had a chance to go wrong!) so quite a few dawn shifts.

How do you think ELP compares to the printmaking institutions and facilities in London and even the UK?
I went to college at RCA which is renowned for its printmaking facilities and ELP definitely compares very well. Our recent expansion has really made a big difference because we now have a dry area where everything is clean. I am a bit of a neat freak so this makes me very happy – I had sweet dreams about it for the first few weeks! This area also means that there is more room to breathe in the printing rooms in the studio now and they are easy to work in and clean up after. It is my favourite studio to print in in the UK. We have a good combination of fantastic equipment and a relaxed and helpful atmosphere. I am often surprised talking to other studios and maker spaces that we seem to be relatively secure, organised and well balanced.

What would you like to see happen with ELP in the future? Think big.
I am working with Maker Mile and Open Workshop London – London is facing some difficult challenges currently with rising rents and changing demographics. It is interesting to see how the various artists, studios and maker spaces in this area are working together to find ways to combat these issues and to create strong communities. Thinking big? World domination! I would be willing to set up a sister organisation somewhere like Tokyo or San Francisco if I was asked!

www.doloresdesade.com

Narcsville — The Vice Guide to Mental Health

Nick Scott aka Narcsville has been a member of East London Printmakers since 2008 and uses screen print as a core process in his design practise. Earlier this year, he created a series of screen printed illustrations for the Vice Guide to Mental Health, these multi layered, fluorescent prints are perfect for visualising different elements of the human psyche. Each design was created in response to a written article about different mental health topics, like anxiety and depression and his prints visually communicate them perfectly as well as being a gorgeous edition of prints.

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Artist Talk Series

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Join us in the studio for an extra special Artist Talk with our current Artist in Resident, Fabio Lattanzi Antinori.

Tuesday 13th October
7:30pm

Fabio’s creations are not only visually mesmerising but they also reach out and captivate other human senses. His practice involves using conductive ink, which is a special paint that behaves like a liquid electric circuit conducting electricity through the viewers body when touched. When the audience touches the surface of his work, a sound, light or other electronic action can be activated.

This is a chance to see Print from a new perspective. An Artist Talk surely not to be missed.

Have a sneak peak at Fabio Lattanzi Antinori’s website HERE

RSVP for this event at [email protected]