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Posts Tagged ‘Maureen Booth’

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by Mike Booth

In an Intensive Workshop with Maureen

New Zealander, Wendy Kerr, is an experienced printmaker. She also likes to travel. She showed up in Granada recently for an intensive week of collaborative printmaking with Maureen.

They worked together on refining Wendy’s solarplate techniques. In the beginning Wendy was worried about the suitability of her drawings. Maureen said to her, “Don’t worry about your drawing, let’s just have fun.” Thus unchained, Wendy began to make prints, to play with inked crumpled newspaper (previously used for cleaning plates) and to experiment with chine collé (The Italian term is more fun: “fondino.”) and other creative printing techniques.

Towards the end of the week Wendy said, “I don’t think I’ve ever had so much fun making prints,” adding, “I don’t think I’ve ever worked more intensely, either.”

When I dropped her at the Granada train station I said, “Come back and see us when you can.”

Her answer: “I’ll be back next year.”

Here are a few photographs.

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I recently received this lovely note from Wendy. I’m proud to share it with you:

Back in New Zealand and now remembering the wonderful printmaking experience I had with Maureen (and let’s not forget Mike)’.

Her marvellous richly resourced studio is a printmakers heaven. All those goodies stashed away just waiting to become someone’s best print ever. Most printmakers are lovers of paper and Maureen’s collection of wonderful print papers, as well as her ‘museum’ of tissue and other interesting papers and materials for chine colle etc are an inspiration to creativity.

Maureen’s skills and talents are a rich resource for the visiting printmakers too. She gave freely of her wide experience and guided me to create some very good work.

I loved being ‘’ín residence”. The accommodation is delightful; peaceful and picturesque, and just a skip down the steps each day to the studio.

Thank you Maureen and Mike. Hope to see you again next year. Wendy.

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by Mike Booth

Ever Been Poleaxed by Delight?

For many summers we’ve been driving up to the forest above a neighboring village to gather pine cones for starting fires. They’re ideal for the job, dry and resinous. We need them as the firewood we use—olive, almond and live oak—is hard to light and in wintertime all of our heating and most of our cooking is done on wood fires. Sometimes we take along a picnic. One time we were up there in a sunny clearing enjoying a potato omelette and some red wine while our two little terriers ran around chasing lizards and butterflies. When we finished lunch and rolled over on our backs on the blanket, staring aimlessly skyward, we discovered a pair of golden eagles circling quite a bit lower than usual. They were thinking about lunch, too.

Prohibition

A couple of years ago it occurred to the forestry authority to prohibit collecting anything in the natural park forests. But we still need pine cones, so I came up with a business plan. I would drive up there before dawn on a Sunday morning, while Smokey Bear was still in bed, and load the back of the car with big 100-liter black plastic garbage bags full of pine cones.

It’s a half-hour drive up there from our house and when I left last Sunday at 7:00 a.m. it was 19º down there and a bracing 13º up on the mountain. I turned off on a forestry trail, followed it for a kilometer and parked at the edge of the road. There were enough plump pine cones within a 30-meter radius to fill the four bags that would fit in the back of the car. After scurrying around filling two of them I sat down on a carpet of pine needles for a break. Then it struck me: the silence, the solitude, the pine-scented air… I should come up here more often.

Churros and Glee

Add to that the larcenous glee of stealing the pine cones and you have most of the makings of a perfect Sunday morning. All that was lacking was a double coffee and a plate of the fried batter rings the Spanish call “churros,” and I would see to that at the bar on the way down.

I was headed due south on the dirt trail when I burst out of the woods and found myself on the rim of a great bowl, looking down into a vast valley full of valleys crosslit from the east by the morning sun. Then, as I lifted my gaze I was confronted by one of our old friends, the eagles, soaring low in the distance beneath seven layers of mountain ridges receding into the haze of the upper reaches of Sierra Nevada.

Self Help

I was almost down to the level of the Río Quentar at the bottom of the valley, only half listening to a Spanish self-help guru on Sunday-morning radio discussing the healing effects of nature when a “cabra montesa” (Spanish ibex) appeared in front of me, like a traffic warden, securing the road for her half-grown kid from last spring’s brood, who trotted out of the bushes behind her. Maybe I’ll go back again next Sunday.
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Watch This Young Artist

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One day in 1770 when Captain Cook was sailing past a little island on the northeast coast of Australia his compass started misbehaving. He presumed it had to do with deposits of magnetic minerals found there and named the place “Magnetic Island.” (Those were the days when the Brits could name and claim territories just by sailing past them.) In the end it turned out not to be magnetic, but never mind. 

Two and a half centuries later Chelsea Candy was born there and grew up to be one of the most authentic people we have ever met. Her effortless manner of just being herself makes the people around her feel more like themselves, a delightful event when it (seldom) happens. Twenty-nine years old now, she’s built a studio beside her house and has decided to become a printmaker. After working with her for 10 days I’m sure she will succeed.

Chelsea showed up here a couple of weeks ago to extend and polish her printmaking skills. I have seldom seen an artist so well centered and hard working. Driven by an overriding enthusiasm to learn as much as she could Chelsea was in the studio every morning and afternoon turning out traditional acid etchings, solarplate and liquid-metal prints (See below, though her best prints, made on the last day, missed getting photographed.)

So busy she was making prints that she didn’t even get to see the Alhambra, the one excursion here that nobody misses. “Don’t worry,” she said, “I’ll see the Alhambra next time.”

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In all my years of teaching printmaking Chika Niinuma has been a solitary case for me. It started with a brief email:

Hello,

I just want to ask you if I can experience a copperplate print while I am staying at Granada. Do you have any class for beginners? I just arrived in Granada and am planning to stay here 4-5 days.

I saw some copperplate print art in Nerja and am very interested how to make such a beautiful art.

Thank you and hope to hear from you soon,

Chika Niinuma (from Japan)

I said sure, come on out and we’ll see what we can do. Chika, tall, slender, pretty and with that endearing Japanese manner punctuated with little bows, appeared in my studio the next morning. I asked her if she had done any printmaking before. “No, she replied, “I have never done any kind of artwork before.” So we began. “This is a copper plate.”

Over the next three days Chika metamorphosed from a timid, uncertain absolute beginner into a blossoming printmaker. She thought she couldn’t draw. I convinced her she could. From there it was all downhill for her. Best of all she seemed to be enjoying the experienece immensely. She was almost another person. After a long first morning´s work and lunch I suggested she have a rest. She awakened three and a half hours later. “I don’t normally sleep that well,” she said, “and never during the day.” I told her, “·Mike says the best medicine for insomnia is happiness.” “Oh yes,” she said, “I was so happy this morning!”

Here are some photographs:.

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Homenaje a Maureen

Somos Pineros

Homenaje a Maureen.
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Nikki Braunton, on holiday in Órgiva at the foot of the Sierra Alpujarra (the seaward slope of our Sierra Nevada) with her husband, John Chase and their two girls, came for a visit the other morning. We had only known Nikki through Facebook, so it was lovely when they showed up en persona. I made a chocolate cherry cake–which was still warm from the oven, but they didn’t seem to mind–and we had coffee and tea on Mike’s new table out under the grapevines.

Nikki and John wanted to see my studio so we spent some time down there. John and Mike are both photographers, so they got on like a house afire. The two girls, ages 8 and 12. seemed interested in everything–studio, prints, cats, Cuca–and withstood the boring conversations of older people admirably.

Both John and Nikki work at the Museum of London, he as a photographer, she in the photo archives. “I only do three days a week,” Nikki says, “so it leaves me time for printmaking.” She works at the Greenwich Printmakers open studio. Nikki and John have fallen for Órgiva and have spend their last few summer holidays there.  So, we hope to see them back here next year. Happy printmaking, Nikki.

 

 

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Karen Urquhart is an Australian girl who arrived at my workshop via London, where she has lived for eight years. Shortly after arriving she declared that her objective with this workshop was to enable her to fill out her printmaking skill set in order to set up her own studio when she got home. That’s a pretty big order for a 10-day workshop, but we set to work systematically using solarplate and liquid metal techniques.

Karen, who had done summer printmaking courses previously, had some grounding in printmaking, but more important than that she had a willingness to work long and hard. We would work mornings from 9:00 until 2:00 and after lunch she would go back down to the studio by herself and work past 9:00 p.m. I think that dedication shows in the work she produced while she was here (see photos below).

Karen has a lot of good ideas of her own, which made our creative time together very interesting.She liked very much the liquid metal technique and found ways of combining it with solar plates to achieve some surprising results.

It’s been great working with you, Karen. Come back and see us when you can.

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