Printmaking Courses in Spain

The  philosophy of the Gallinero is not about ‘artists’ colony.’ It’s about creative solitude.

Maureen, how has your life changed since you inaugurated your Gallinero artists’ residence in March of 2010?
One of the most interesting aspects is that the artists have come from so many different cultures, and I now have friends from so many parts of the world in such a short time.  We exchange emails and keep in contact. It is like having my artistic world grow in another dimension.

You’ve been doing a lot more individual work with professional artists than ever before. How did that happen?
This I have been doing for some time now, mainly with Spanish artists who will come over from different parts of Spain to make plates and do experimental printing.  But now through different Internet channels I find that more and more artists want to come and work with me from different parts of the world.  I have also worked with professional artists who have never done printmaking before, graphic designers, sculptors, painters…

What’s the difference between working one on one, as compared to teaching a group?
Though all my groups are small—never more than five, often fewer—it’s true there’s something special about working intensively with a single artist on a project. There are so many steps you can skip, or cover quickly, due to the experience which the artist brings to the project. Also I am able to dedicate my knowledge to one artist. I like to see how they draw, what kind of work they do.  I can then concentrate on the most interesting technique that they should work with to enable them to get the most out of the course and produce some plates and prints which really reflect their own individual style.

Your website says you’ve had artists from nine countries in your workshop in less than a year. How did that happen?
I think that this is due to my presence in the web and living in Granada, Spain which  is a beautiful place to visit.  I also have been working for many years with solar plates which is a technique which more artists today. Solar plates are non-toxic and offer creative ways to produce intaglio and relief work. Making traditional etchings on zinc or copper plates is much more laborious and time consuming.

Could you please explain to us what Pomegranate Editions is, and where the name came from?
All of the portfolios of prints and artist’s books I produce—including some editions for other artists—go out under the imprint of Pomegranate Editions. (See some samples of my editions here, on the Print Workshop Central site.) The name comes from “Granada,” which is Spanish for “pomegranate.”

Please tell us a bit about your Gallinero. How did it come about? Why “Gallinero?” What has its first year been like? What surprises did it bring? What does it have that makes it special? What do the people say who have stayed there and worked in your studio with you?
For years I’ve felt the need to have accommodation here for the artists who come to do courses and collaborative work with me in my studio. Our village has a couple of reliable two-star hotels, but I thought it would be great to have a cabin right here on the grounds, just above my studio.

Finally last winter we decided to take the leap and enlarge and convert my old studio, part of which had previously been a chicken coop (Chicken in Spanish is “gallina;” hence “Gallinero.”) into a residence for artists. My husband, Mike, made a nice website for it, and artists began making reservations almost immediately. It was like magic. What makes it special? I think it’s a combination of space, peacefulness and an unusual layout in which the kitchen is the sitting room and the bedroom has a big workspace. Everyone who stays here loves it and wants to come back for a longer stay.

Since the Gallinero has been so successful, would you consider building more accommodation for artists and writers?
Actually, no. Though we have the space, if we built more cabins on it the Gallinero would lose its principal attraction: its exclusivity and perfect peace. The philosophy of the Gallinero is not about “artists’ colony.” It’s about creative solitude.

Do you think your location on the outskirts of Granada in southern Spain is a factor which attracts artists to your workshops?
No doubt about it. Just the name “Granada” conjures up a powerful spell. To experience it first hand is a rare privilege. Granada really delivers.

What’s next on the Maureen Booth / Pomegranate Editions / Gallinero agenda?
First a Christmas break. Then in mid-January I’ve got a wonderful Australian painter and printmaker (I don’t think she’ll object to me mentioning her name; she’s Robyn Smith.) coming back for her second stay. Then in February a couple of fine American artists, Mel and Beatrice Strawn from Salida, Colorado. Then, before I know it I’m into my summer workshops. I hope I get a little time for my own work in the middle!

If you had it to do all over, what would you do differently?
We would have built the Gallinero 15 or 20 years ago.