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Posts Tagged ‘printmaking courses Spain’

Not having done fine art prints before she’s making up for lost time.
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Tasmanian artist, Frances Parker, and her husband, Mike, arrived last Sunday. Monday morning at nine she stepped into my studio and, after a 15-minute introduction, sat down to make her first print. At the end of that day she saw it come out of the etching press, having made not a single wrong move. The print could have been made by a professional. It was clear to me then that she was an experienced and talented artist who had been needing to make fine-art prints for a long time.

It’s the end of the week now, and we’ve just put the last of her work in the press so she can take it home nice and flat. Her new house includes beautiful studio space and a nearby friend has an etching press where she can also work. I’m looking forward to seeing the prints she produces over the next few years.
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Frances and Mike had unusually good luck as the dates of their visit coincided with the annual “Fiestas Patronales” in our village. (You can see my husband Mike’s photos of one night of the fiesta here.) So every evening there were lots of activities, lots of music and dancing and lots of exotic tapas with the beer, in all an intensive course in fiesta.

Photos by Mike Booth and Mike Parker

.Thanks for sharing.

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Homenaje a Maureen

Somos Pineros

Homenaje a Maureen.
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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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Most of the Butterflies Were in My Stomach

Miguel Ángel Castillo phoned the other day asking if I wanted to play a small part of a veteran butterfly activist in his latest film. I said sure. Could they shoot in my studio? Sure. Ever since I worked with Juan Carlos Romera on ¡Bive! seven or eight years ago I have been entranced with movie making. (Juan Carlos also made my printmaking tutorial videos.)

Miguel Ángel is a retired science professor who is full of the kind of creative energy the Spanish call “inquietudes.” He is a butterfly activist with his own mariposarium at home, he makes short films and he takes excellent care of his friends. Asked what got him into film making he says, “I always wanted to try it, and when I did I loved the process. Also it’s an opportunity to be in contact with bright, talented young people. I find that very enriching.” Don’t be tempted to think that his film is one of those boring ecological treatises. It actually has an assassination in it. though it lacks a helicopter.

So, Miguel Ángel and his crew of seven technicians and actors showed up yesterday morning and started running cables and setting up lights and the camera. It was a hot day and it took us till 3:00 p.m. to shoot what was was essentially three scenes, so we were thirsty, worn out and starving when we finished.

Miguel Ángel was right on cue. “Where’s the nearest place to get a nice lunch?” he said. “I’m inviting.” Mike suggested Casa Guillermo, just down the hill in our village. The food is good there and we could sit at the tables on the river’s edge. The meal which lasted from three until five, included a wonderful selection of Andalusian soul food: jamon serrano, pipirrana salad, grilled morcilla and alonganiza, churrasco steak, chicken and ham croquetas, pitchers of beer and assorted soft drinks; one fundamentalist actually drank water, with ice cream and kinky little cylindrical cakes for dessert) lasted from three until five.

One of the best dishes was papas a lo pobre, (“poor man’s potatoes) sliced potatoes with green peppers stewed in quite a lot of olive oil. Jordi, the sound man from Valencia, wrinkling his nose disapprovingly, asked, “What’s that puddle under the potatoes, oil?” “Yes,” I said, handing him a slice of bread. “Here, dip some bread in it,” and I showed him how it was done. Jordi became an instant devotee of papas a lo pobre and an expert olive oil soaker upper. (Don’t try this at home with just any old olive oil. Ideally it should be the silky golden aceite de oliva virgen extra from our village, Pinos Genil.)

The crew had a two-hour drive back to Almería, but Mike and I were home in less than five minutes, stripped off as we were descending the garden stairs, showered in the hose, dried off and hopped into bed, where we stayed for hottest three and a half hours of a 39ºC (102.2F) day. There’s nothing wrong with a day in which you get up from your siesta (just a bit groggy) at 9:00 p.m.

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In recent months a couple of my galleries in Granada have been asking, “Could you make us some miniature prints?” These are my first proofs.

 

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You’ve seen Pinos Genil in the old days in the previous post. Here’s what Pinos and its people look like today, summer and winter.

Here are a few links to Somos Pineros posts on contemporary Pinos:

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Brenda Eubank-Ahrens returns to my studio for the fifth (or is it the sixth?) consecutive year with a new group of students from her art class (two of whom were here last year) at the IB School of Bremen, Germany. We both look forward to these visits. It gives so much satisfaction to see young artists blossom in a new setting with new techniques. And the results can be surprising. (You will be able to see the display of their work on Tuesday’s post.)

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Here’s wishing a joyous Winter Solstice and a happy and prosperous New Year to all my people.

I want to make you a little gift. If you follow this link (http://youtu.be/4zNnkAbQ-1Y) it will take you to my Printmaking Tips video (one of my Master Printmaking Courses series) that is posted in a secret place on YouTube that can only be accessed with this link. I hope you find something there that might refine your work a little bit.

Two thousand fifteen has been an excellent year for us. Our good friend Rafa Sánchez, the surgeon whom Mike goes hiking with on most weekends, recommended a new doctor to treat my arthritis. Dr. Salvatierra changed my medication, which immediately reduced pain and swelling in my joints. It was like magic. I feel better than I have in years.

My other special joy for this year has been our grand daughter, Lucía, who has been staying with us for a couple of months during her first pregnancy. It’s a boy, due in February. This will be our third great grandchild, as Lucía’s little sister, Elisa, already has two wonderful children, Gabriel 4 and Julia 2.

I’m starting work on a new commission that proves to be challenging and fascinating. An old friend from California, a musician, composer, musicologist, documentary film maker and record producer, wants a portfolio of etchings based on a suite he composed when he lived in our village for a year back in the early 70s. I think I’m over the first hurdle. I’ve decided on an approach to the images. Wish me luck.

A group of 12 students from The American School in Switzerland (TASIS) are coming back this year during their winter break for five days of printmaking in my studio. I love working with young people, and it’s surprising the quantity and quality of work they can turn out. I’ll ask Mike to make some pictures of the workshop and post them here.

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Dolly as a baby. Angelic, isn’t she…

 

Shall I tell you the Dolly saga? Dolly is one of Cuca’s two pups, the one we kept. She’s just over a year old now. The father was a little Jack Russell-type terrier. We should have been forewarned. From early on she constantly tried our patience: hyperactive, chewy, yappy, and if we made her nervous she would take revenge by peeing on our bed. We were always of two minds whether or not to find a good home for her.

Then last month a young woman from the village showed up at our door asking if we had any puppies. She had been promising her two girls (10 and 4) a puppy and had to deliver. As soon as she saw Dolly she was smitten. (As you know, the Devil takes many forms and Dolly is diabolically cute.) As María José walked proudly down the hill with her new puppy on a lead Mike and I exchanged meaningful glances. Had we done it? A week went by. Apparently we had.

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Family portrait lacking just a couple of cats.

Then Dolly started showing up at our house from time to time. I would phone María José and she would come up dutifully and retrieve her. She said her girls were wild about Dolly but she was concerned because they never left her alone. If they weren’t dragging her along on the lead they were hugging her on their laps. No peace for the wicked!

A week later María José showed up with Dolly in tow. Her mother had said that Dolly had to go. She had come into heat and, along with her other shennanigans, was making life at their house impossible.

Dolly’s back, but with a difference. She’s almost perfectly behaved. It’s a miracle. She’s so happy to be in a familiar place with old friends–especially her soul sister, Blacky the cat.

Dolly now comes when we call her, goes where we tell her, hesitates for permission before jumping up on the furniture, hasn’t eaten any shoes, socks or plastic kitchen utensils since she’s been back. She’s discreet and affecionate, a pleasure to have around. In short,  we have never had such an appreciative puppy.

I almost forgot to mention Mike’s latest project, a new site he started in August. It’s called Somos Pineros (We’re from Pinos) and it showcases the photographs he has made in our village since we arrived here, pictures from the end of the sixties till day before yesterday. The text is in Spanish but the images are universal. Here’s the link: http://somospineros.com.

Do take good care of yourselves next year and come and see us when you can. Printmaking is good for you!

 

 

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The Importance of Having a Great Assistant

We talk a lot about the creative part of printmaking but there’s another aspect which is also creative, but somewhat less: the production side. If you’re going to sell prints you have to edition them. Depending upon the numbers involved–I try to keep my editions under 50–editioning can become a trudge.
Enter the assistant, who can make all the difference. I’ve had a few. When Rodrigo, who was excellent and had worked with me frequently for a number of years, went back to Argentina, I was left on my own. Then an old friend of ours, Maria Jose Braojos, wife and co-producer of Juan Carlos Romera, the video producer who has made all my videos, offered to help me out. I was delighted.
Maria Jose and I have been working together for more than a year now and she has proven to be the ideal helper. It’s not just for her technical ability and her punctillious character, which keeps print quality highly uniform. It’s also because she’s great company, always cheerful and optimistic, always generous with her time and discreetly helpful with her suggestions. Maria Jose’s great, and I want this post to be an homage to her. I asked Mike to make some pictures of us working in the studio yesterday and he kindly said yes. (If you ask me he went off the rails a bit, but he’s entitled to his creativity, too.)
I hope you enjoy this photo essay on a morning of editioning in my studio. Better yet, come on over and we’ll do some work together!
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Trish Roberts arrived last Sunday with her husband, Peter, and they adapted quickly and joyously to the Gallinero. Trish shows tremendous enthusiasm in her work. Everything we did together seemed to delight her. I have seldom seen an artist have so much fun doing prints and learning new techniques. It was very rewarding for me. She must have enjoyed it, too, as she’s talking about coming back for a longer stay.
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This five-day visit to my studio was tacked onto the front of a Spanish holiday. Trish’s idea was to spend this time preparing work for two shows she has in the near future. “Though I don’t expect I can get much work done in five days,” she said. In the end, when they leave tomorrow she will go with a portfolio of new prints and some fresh ideas about colour, fondino, liquid metal and solarplate prints. Oh, I almost forgot, and the siesta.

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