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A Printmaker’s Relationship with Abstraction

Orange stem lino cut by artist and printmaker melissa birch



The term abstraction can mean different things. It is used for different purposes by different artists. Consider the many different directions it took when it when it exploded on to the art scene over 100 years ago for example. There were those seeking to disrupt the picture plane such as Picasso, or needing greater freedom of expression such Kandinsky (but also Picasso). In it’s most extreme form, and possibly where it earns a bad reputation among gallery goers, is when it becomes a search for absolute purity, such as Malevich’s quest with “Black Square”. I love all of this complex history of abstraction, and for me it is still a constant and vital element of artistic practice.

Small lino print by Melissa Birch, Little Blue Bird



Contradictorily however, I am also drawn to observational recording and feel compelled to describe the very real things around me. Designing lino prints allows me to play with the tension between this reference to the real, physical world and an abstract use of line and shape. The relationship can be pushed one way or another; I can dial up the flattening and geometry of shape, or draw out the observational accuracy. It is not just a sliding scale between one and the other, more likely the two forces are in conversation with each other, often complimenting or strengthening each other in surprising ways. How is it that a semi-circle can say “bird’s wing” more powerfully than a detailed study? A blink of the eye, or change of context, and the same semi circle becomes something else entirely. It is like a teasing dance between reality and representations of reality.



Then there is the method I choose to employ; printmaking. Lino print lends itself to abstraction in the very process by which a print is made. There is the splitting apart of colours for each layer of print. The artist has to analyse and select the limited number of hues that will best represent the subject, knowing it can never imitate it absolutely in the way of an oil painting. The layers of ink built upon a papery surface remind us that lino prints are very much a hand-crafted item. The physicality of the process is visible in the finished product and I like to accentuate this by leaving “noise” in the print. Even in the most delicately carved and subtly toned works can never emulate what can be achieved with a brush and slick of oil. Not when compared to the unearthly realism of a Rembrandt for example. I love the fact that the carving tool is a relatively crude implement, given to producing hard lines and flat shapes. I love to work with this challenge and to see what will emerge. To explore references rather than illusions.

winter hedgerow being carved in lino
tea towel by melissa birch


In “Dock Flowers & Grasses” the use of a simplified motif to represent the densely textured flower heads was my main preoccupation. It took time to develop a carved form which suggested the lightness and intricate structure of each flower head without becoming over-worked and heavy. Once found, the shape is loosely repeated in varying sizes and proportions, the same way that nature repeats a pattern. If it works, do it again. The pattern is reinforcing yet flexible; no two flowers are exactly the same but they are built from the same code.


“Orange stems” takes abstraction one step further. There were no flowers in front of me when this was created. Instead I drew from a memory bank of flowers and seed heads that I have collected, recorded and studied for years in my minds eye. It feels as if they have imprinted themselves there. To create more freely abstract shapes in this way offers something iconic. Something which says “Flower” and means all flowers. I hope it might transport the viewer to their own memories of stems and seed heads. Rustling through childhood memories and long-past summers to open up their own interior world.

Orange stem lino cut by artist and printmaker melissa birch
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Demystifying the Business of Art – How do artists price their work?



I am often uncomfortably aware that many people have no idea of how an artist actually makes a living. Leaving aside the bizarre things we do with paintbrushes and rollers all day, the actual business of somehow selling this stuff is even further beyond comprehension. I’ll admit, it’s not an easy subject to pin down and unfold, but I would like to try my best to throw some light at this by drawing on experience.

Photo of Chalk Gallery Lewes


I’ve belonged to galleries and sold other artists’ work, I sell my own work online, via exhibitions and at art fairs, so selling artwork seems a fairly ordinary practice to me (which doesn’t mean that I don’t still do the “happy dance” when making a sale by the way). Popular media however seems to enjoy perpetuating the myth that artists are impoverished, starving and never able to sell their work. The legend that Van Gogh left us certainly has a lot to answer for. It sadly leads to an idea, in too many people’s minds, that art is some esoteric thing that noone actually buys.


Given this misleading starting point, it’s no surprise that the business of art, how it is valued and sold, continues to beguil. Visitors to galleries are mystified by the varying price labels, afraid to ask, unsure of the terminology, such as the difference between a print and an original (more on that another time). In this blog I hope to demystify the business of art, and in particular to look at some of the elements which make up the pricing of a piece of artwork. I hope that doing so will help a few more potential buyers to feel more confident about wading in and experiencing the joy of buying and owning beautiful works. 


Let’s start with the artist themselves. I think it helps in one way to compare what an artist does to to any other worker who uses their hands; such as a hairdresser or plumber. Like hairdressers and plumbers, artists will often be running their own business, managing those associated costs, and expecting to be paid a fair wage for their time. Many artists will use a formula to make sure they get paid a fairly for their time such as some of those mentioned in this article: https://www.magazine.artconnect.com/resources/how-to-price-your-art. This is not the end of the story however as the art world is large. All artist’s are different and despite loose formulas, such as that mentioned above, there will be differences in how they price their work. The landscape is further skewed when collectors become involved which I’ll explain further on. First, I would like to break it down for you with some easily illustrated examples, and what you can expect from each.


My first example would be the many artists who make work because they love to do so and probably could not stop doing so even if they tried – it is such a pleasurable activity. Their work is like a gift to them, and they sell it at prices that are essentially a gift to the buyer. It is likely that this artist no longer needs a salary so they are happy to charge prices that cover the costs of materials and exhibition fees only. It does not mean their work is less valuable. You are lucky if you know one of these artists and, as well as buying their work, you should probably buy them a coffee to say thank you.


The next example are artists who need to pay themselves a salary – I am in this group myself. In order to pay ourselves fairly, we factor in the cost of the time it takes to make the work in addition to the cost of materials, and exhibition fees and other overheads. The pricing usually makes sense and has a structure. It’s sad when people forget that the item they’re admiring took another human valuable time to make, and will express surprise at the price or attempt to barter. This is hugely frustrating for artists knowing the same people would pay a hairdresser or gardener for their time without question. Too often society treats artists’ time like some mercurial substance; endlessly open to negotiation.


When you consider the fact that the artist is paying themselves for the time it takes to make the work it also helps to make sense of other variations in price; artwork which takes longer to make is more expensive. Larger work will often be more expensive. If you browse the artworks for sale at melissabirch.co.uk you will see that a hand carved lino print measuring 30 x 40cm such as “Dock Flowers and Grasses” is roughly 4 times the price of one measuring 15 x 20cm. Size isn’t always the determining factor; work which is time-consuming, such as a lino print with multiple layers of colour is also, quite often, higher in price.

Another reason for variations in price is that some artists will have more running costs than others. Included in the cost of production are variable overheads, such as materials, travel costs, advertising, website hosting and time spent on administration and promotion.

The next factor to consider is that salaries change; artists who have more years of experience making successful work, and are at a strong place in their creative development will pay themselves a higher salary. As in any comparable profession, you rise through the ranks, gaining knowledge, skill and expertise, and your salary (hopefully) rises with you. I would always advise reading the artist’s biography and finding out how many years experience they have, to assess whether the work is reasonably priced.


So far this payment structure makes good sense, but there are just two more quirks about the art world that I would like to mention which skew the landscape and are possible causes of mistrust and confusion among buyers.


Firstly, there are artists whose work has become collectable. The inflated value of their work renders everything I have so far explained pretty irrelevant. The price is determined not by the artist themselves, but by how much collectors are willing to pay for it. It no longer has a meaningful connection to the artwork and is less easily explained by factors such as how long the artist spent making it. Thankfully not many of us are in a position to have to worry about these kinds of prices!


Secondly, there are artists who are simply not interested in selling their work at all. They may be pursuing art as an intellectual exercise only, are receiving funding from elsewhere, or just dislike the business of buying and selling. Their prices could be high and it doesn’t mean their work is better. Equally they could give their work away for free, or stash it under the bed, and that does not mean the work is worth less.

These last two examples raise interesting questions about the nature of “value” but don’t necessarily help us to understand pricing. However if you are buying from an independent artist-run gallery, or directly from the artist themselves, you are unlikely to meet with these situations.

I hope this blog throws some light on the ups and downs of pricing art, and in some way reassures you that the price of a piece of work is not a random figure plucked from the air and that the business of making art is an honourable businesses just like any other. If you have any questions feel free to email me. And if you are buying affordable art from an artist or an independent gallery, please bear what I’ve said in mind. Take another look at the price, consider the costs involved in making the work, and ask yourself whether the artist is actually paying themselves enough. Because the answer is possibly not.

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Taking part in an Open Studio or Art Trail event

In 1982, Ned Hoskins, a Brighton artist, opened his own home to the public in order to exhibit his work.  It was a result of what he saw as a shortage of good gallery space in Brighton at that time.  He invited artist friends to exhibit alongside him. Other houses in the neighbourhood soon joined in, and the event grew in number each year. The Brighton Open House festival now averages around 100 venues stretching across a wide area of Sussex.

It’s possible that Ned Hoskins wasn’t the very first to do this but he was certainly a major pioneer. Today Art Trails, Open Studios or Open Houses comes in many shapes and forms but all have grown in popularity vastly.  If you do a little investigation, you will find that nearly every town in the UK has some sort of collaborative organisation in which the makers and artists’ open either their studios, homes, garages or gardens to the public in order to display and sell their work. 

The success of these events makes a lot of financial sense. Without the overheads and administration costs incurred by a gallery, which can often necessitate up to 40% commission, both the buyer and the artist come out better off.  Selling work directly to the people of your local community is also very rewarding and results in a lot of good feeling on both sides. After all, who doesn’t love a work of art made with a local story attached, often featuring much admired aspects of the area you live in.

Steyning Arts is lucky to be based on the edge of the South Downs and the stunning local scenery does indeed feature in, or inspire many of our artists’ work, but not exclusively.  One of the more surprising bonuses of being a member of a local art group is the diversity and breadth of subject-matter, medium and approach of our 70 odd members. Because there is no “House Style”, no need to conform to a particular market or customer, we find ourselves joined by makers and artists of all disciplines, constantly being surprised and delighted by the unique aesthetic each brings to the group.

I started exhibiting with Steyning Arts in 2018 and gradually became more involved and active within the group.  I made the decision to open my own venue in the Art Trail and hope I will always be able to do so, as I can honestly say it is the most enjoyable experience.

I would like to be able to share some of my experiences below and hope to encourage other artists, wherever you are situated, to have a go at turning your abode into an exhibition space. The benefits are considerable; you will make connections with visitors who now know who you are, where you live and what you do, you will have complete control over how your work is shown and the overall feel of the event, you can add personal touches, give live demonstrations and tell people more about your work this way. Finally, you can relax in your own garden, or even get on with some work in between visitors!

Here are some things to consider before beginning;

Space

Consider which part of your house would make the best gallery space, enabling visitors easy access, some clear wall space when you have cleared it, and the potential for your family to maintain some private living space during the exhibition time. In our previous home it made sense to clear the front room, screening off the rest of the downstairs area with display boards. In our current home the garage provides good exhibition space providing it has an annual clear-out and fresh coat of white paint. Clearing the space is time-consuming, but is worth it, and you would be surprised how good a de-cluttering session can feel.

Display

There is plenty of potential to get creative with ways to display your work, adding height and depth using different pieces of furniture as props. Purpose built screens are also very useful. My husband put together two 6×4 foot screens which we use for the Art Trail and pack flat in the shed the rest of the year. To make these you will need: an 8×4 foot peg board sheet, several 2×4 pine lengths to frame the boards, and some 18ml plywood sheet to create supports stands for each side of the board.

Lighting

Good lighting is a must but not as expensive or difficult as you may think. Philips Hue light bulbs are reasonably priced and set to a cool blue daylight setting will light up any dark corners with a good balance of colour.  I use a clip on lamp and a cheap standard from Ikea fitted with Hue bulbs. Point them at the ceiling for a more diffused light.

Collaborating and Curating

Some artists love to exhibit simply on their own, but it is worth considering collaborating with others. There are many benefits including creating a show with more variety, attracting more visitors, and having an extra pair of hands to welcome visitors at busy times. Consider which other artists’ work would compliment your own. Artwork with a similar subject matter or media can lead to a themed approach, for example a house of printmakers or photographers. Opposites also attract, and a 3D artist will work with a 2D artist nicely, as well as making good use of the space because each will have different display needs. I really love the way the collaboration enhances and compliments each artist’s work simultaneously.

Refreshments

Visitors love the idea of a destination that promises cake. If providing the full tea and coffee service is beyond the man-power and space you have available, then some lemonade and a square of tray bake will still be gratefully received, and is really only polite to offer if visitors have walked some way in hot weather. Many venues will charge a few pounds for their refreshments.

Affordable Takeaways

Include some items such as cards or gifts which are in the lowest end of the price range. Much of the work artists do is expensive out of necessity due to the time and skill needed to make it, but your venue will be more welcoming if visitors know they will be able to afford at least a small item there, such as a postcard or bookmark.

I hope you feel encouraged to join an Art Trail and am happy to answer any further questions you might have. Feel free to email me via the Contacts Page!

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Teaching Lino Print


I’ve been teaching lino printing in small groups at Upper Beeding Village Hall for some years and although the content of what I teach remains relatively unchanged, the workshops are each unique depending on who shows up.

I tailor my teaching to meet the needs of the group, and to guide individuals as they decide what to print, which colours to use and how to go about it. It’s an exciting journey of discovery rather than a didactic lesson format.


Let me describe the group of five lino printrs who I worked with recently, and it will give you a flavour of what happens on Thursday evenings. The five who walked into the room on the first session had never met, were from all corners of Sussex and had varying previous experience. Before long we were chatting away about a wide variety of subjects as well as what we were learning with lino…


John and Paul had both had some previous experience of lino printing and brought their own tools with them. They each wanted to learn about reduction printing and this is what they focused on for the five weeks, learning how to reduce an image to separate colours, register (line up) the block with the paper and print layer by layer until the image is complete.

It’s difficult to explain the method with words, and we all agreed that it’s only through the process of doing it that it starts to make sense.


Alison and Wendy were new to lino printing and keen to get started. We covered a lot in the first two sssions and then I was able to teach them two more techiques; chine collee and jigsaw lino.

These processes are fun ways to add more then one colour to a print without going through the process of reduction printing. Lots of lovely colourful experimentation ensued!


Clare had already learnt these techniques on a previous course with me, and I was delighted that she wanted to come back for more. Many of the principles I was explaining to the others she had heard before, but she was able to use the time to develop her own work and style.

We talked through what techniques might work best for the effects she wanted. I was able to offer some useful tips as she explored and experimented.

One of the best things about learning in a group like this is the rich opportunity to exchange ideas and learn from each other.

With so many different activities going on in the room each course really is unique. I certainly have never been bored despite teaching lino printing for years! 

I particularly love it when people start asking about what kit they would need to buy in order to continue printing at home. As they start jotting down a shopping list I know they are going to be enjoying lino printing for hopefully many years to come.

Book a Lino Workshop

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How do you frame a lino print?

Picture framing can seem like a dark art to the uninitiated. There is a mind-boggling array of options from the glazing (glass or acrylic, non-reflective, UV resistant?) to the moulding (hand-made, factory made, wood, composite, plastic?) and the price will vary with the same mind-boggling range and variety. How do you know what you are really paying for?

I was equally bamboozled and unfortunately wasted much money and time on disappointing products until I discovered my now favourite supplier for picture frames – Brampton Framing – who I have been using for several years since.  They are a family-run business with Fine Art Trade Guild certified picture framers employed to make up the frames.

Working with their products has taught me to really appreciate the beauty of a well made frame. There are faultless corner joins, quality card mounts and reassuringly solid materials. It actually makes the tedious job of framing up my prints more of a joy!

I frame all of my prints myself for reasons of convenience. I can frame up works as and when required rather than having a lot of stock getting dusty between exhibitions. I’ve learnt a few trade secrets along the way.

For example, it’s a little known fact that a work on paper is “hung” inside the frame using just one strip of acid-free tape at the top of the cardboard mount on the inside. Paper expands and contracts with moisture so if an artwork is taped on all sides then it will warp and bulge.

After setting the print I tape all sides of the back of the frame to seal it and add an information sticker. Then D-rings are screwed into the frame and picture cord strung between them. This is a much more secure way of hanging a frame than using the clips or hooks which often come with shop-bought frames.

I am grateful that companies like Brampton Framing who produce fine quality hand-made products still exist. Craftsmanship is too often under-valued in the modern world and I think that is something all artists can sympathise with.

I was also pleased to read that the picture framers I use source their products and services locally whenever possible and promote energy and paper conservation in their workplace. They purchase their moulding and mountboard from companies who try to only use timber that meets sustainable forestry policies. It’s a step in the right direction at least, and gives me more peace of mind when using their products.

I hope my blog helps to throw some light on the dark art of picture framing, and starts you thinking a bit more about framing too.

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What is Handmade Japanese Paper?

I describe nearly all of my lino prints as being printed on “Handmade Japanese Paper”, and many customers may wonder what this actually means and why it’s important.

Printmakers, including photographers who sell prints, will often list the type of paper used in their artworks and it’s a good indication of the quality and care that has gone into the product. 

Some papers are better for printing on than others. Printmakers will look for “wet strength”, absorbency and a suitable surface quality to print on (very smooth if printing by hand without a press). Finally, for professional prints being sold to customers, there’s the all important longevity of the paper. The paper must be acid-free. Anything with a high acid content such as newspaper or cheap drawing paper will turn yellow with age. A good quality paper should be able to see out several centuries and still look good.

Personally, the fact that the paper I use is handmade is also a very important factor and for this reason I source my papers from the Awagami Factory in Japan where beautiful papers are hand-crafted using natural and renewable plant resources. It’s an impressive fact that the Fujimori family who run the Awagami Factory have been making paper for as many as six generations! You can read more about them here; https://awagami.com

The Awagami paper “Hosho Select” is the paper I have been using now for several years. It is strong, supple and a lovely warm shade of white. One side is slightly textured and has a fibrous nature, but the other side is amazingly smooth, just like a fine silk.  It is this extreme smoothness that makes it such a good printing paper – it allows for great contact between the plate and the paper, meaning a great print every time.

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What is a limited edition print?

Ever wondered what those numbers in the bottom corner of an artwork really mean? Is it a good thing if the number is small or big? Editioned prints can confuse people… even those who have been working in the art industry for some time.

I’ll explain how I go about editioning my own lino prints and it might help shed some light.

When I design a lino artwork I decide how many copies of the print I will make. I print exactly that amount and no more. Each print is then labelled in the bottom left hand corner. The first print is labelled number 1, the next number 2 and so on. The number is written in front of another number which states the total amount in the edition so the owner knows exactly what they have bought. For example 1/20 means they have bought the first print in an edition of just 20.

Why is it important?

If an artist’s work becomes significantly valuable then this is vital information for valuers as a print from a small edition is going to be worth more than a print from a large edition due to its relative rarity. Not many printmakers are expecting their work to be valued at Christie’s, however it is still an important responsibility when selling prints to let the buyer know exactly how many other copies exist in the world and therefore how unique their purchase is.

Big editions or small?

Some artists sell in huge editions, particularly if their work is popular and they can satisfy a large market of buyers, but also if their prints are made by a process that easily produces large quantities eg digital printing. They may even have technicians to help with the workload. This is all great news for the artist and doesn’t really de-value the print itself to the current owner.

When I print my editions the numbers are a lot smaller. I choose an edition of around 20 for my smaller pieces and as low as 5 for the larger artworks. This is because printing by hand with a baren is hard work and I have chosen a career as an artist and not a machine! 

Printing in small editions does mean that the artworks are pretty special… there’s not many of them in the world. But then, I would argue that what makes a piece of art truly special is what it means to you, regardless of any numbers, price tags or editions.

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Small Wonders

The lino printing project I am currently working on is a small one.

After spending the last two years producing large prints for the walls at Chalk Gallery in Lewes, I have recently returned to working on a more intimate scale, similar to that with which I began my work as a lino printer and first became absorbed with this addictive process.

The subject matter I am studying at present also lends itself to attention on a smaller scale, with a quiet and gentle focus; Snails, and garden insects, small creatures going about their daily business, easily overlooked but so important in the part they play in the larger story of biodiversity.

The idea came to me while I was walking alongside the local riverbank one morning after the rain.

I live in a beautiful part of the countryside and find inspiration easily in the natural landscape around me. Unlike many of the other local artists who I am friends with however, I find myself drawn to the detail. While they paint outside in all weathers, recording the undulating hills of the South Downs, the swathes of grassland or vast seascapes I tend to find myself gazing at a single blade of grass. My countryside walks are never long ones and I have usually found something to draw or photograph within a few yards.

On this particular morning it was the brilliantly coloured baby snails which caught my attention, straggling across the path (I rescued a few) and winding themselves up cow parsley stems. The contrasting pale yellow and deep brown stripes on their shells is an excellent design; eye-catching, high in contrast and almost hypnotic. Perfect for printmaking. It wasn’t long before I was crouching among the wet grass with my mobile phone and some curious looks from passers by. The idea to create some small works, celebrating small wonders, was fully formed

The project is currently in its very early stages with two potential linoprints begun this week. Carving designs on this scale presents some challenges of it’s own. The temptation would be to use smaller and smaller tools in order to capture finer and finer detail. However for me it is always the “maker’s mark” which appeals in linocuts, so apart from a few very fine marks, the main image has been carved with my favourite pfiel tool number 9. Carving with this approach means simplification is necessary, and conscious choices have to be made about what is truly important to the image and helpful in the design.

Re-creating a small subject on a small scale is satisfying in it’s symmetry. The final pieces in this project will be small, and will need small frames, and a quiet space to be enjoyed. They would be lost on a feature wall. I like the thought that one day in the future, when someone pauses on a staircase, or a landing, to look into the frame, they will be greeted with a special and intimate moment, rather as I was that morning on the riverbank with the snails and the rain. It will feel meaningful.

Maybe art doesn’t always have to make large statements. Sometimes it can make connections instead.

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Garden Birds

This Spring I have been working on a set of prints about the birds which visit our garden. It started with the blackbird who regularly demands my attention with its chirpy presence as it bobs from branch to branch. I think it is a bird which must be loved by many a printmaker for the inky blackness of its feathers and the cocky silhouette it creates against the sky. From this starting point I was soon drawn to record more of the feathered visitors to our garden. Maybe it is the fact that we are hoping to move house this year that made me want to capture a memory of my favourite birds whom I have grown to love over the last eleven years.

The wood pigeon attracted me next. I was fascinated by the softly graduated tones in his colouring and puzzled over how to separate these out in the reduction process. A reduction print involves taking away sections of lino after each colour is printed and means that you have to work in reverse, building up each colour in order. I enjoy the artistic challenge in reducing a subject down to just two or three colours while still being true to its nature. The wood pigeon received a disc of colour to his belly where in nature there would be a much more subtle blush. It is a stylisation we are familiar with in representations of robins and I felt it would work.

This pair kept me absorbed for some time and I enjoyed their company while ruminating on a second pair which would form a quartet of birds. I chose a robin because of the jolly colour separation, and a sparrow for the beauty in the pattern on their wings. Sadly I had to reject the blue tit on the grounds that there were just too many different colours to work with and it would break the pattern of the two-colour reduction print which marked the set. I’m sure there will be a future place for the blue tit. It is still a very welcome visitor to the garden, and we are hoping a family might take up residence in the nesting box we set up this year.

A background setting was chosen for each bird using plants from the garden or familiar to me through my studies. The accent colour of the plant would be the same accent colour as that of the bird due to the use of only two colours, so that dictated my selection. The blackbird had to have a golden beak so the yellow/red apples of the crabapple tree where it often feeds were an obvious choice. The soft pinks of the wood pigeon suggested roses, and although there are none in flower at this time of year, the blooms of the camellia are very similar in shape and became the floral background in which the pigeon is resting. Tiny spring blossoms for the robin in a red which appears pink when used in small amounts, and the soft grey of pussy willow buds for the sparrow completed the series.

I am pleased to have completed my four garden friends and know that I can now take them with me wherever I go. I can enjoy them from the comfort of my own walls when not sharing the space of the garden with them.

It also pleases me how succinctly they sit within their framework of branches. Observing nature, and particularly birds, teaches me about the art of living harmoniously with ones environment. Whether through camouflage or nest-building, wildlife has a way of finding connections and being at peace. I hope when our family finally moves house we will nestle into place as comfortably as these birds. I think I shall take a leaf out of their wise books and seek out a place to feel at home and in harmony.

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Staying Warm

With the recent rise in energy bills in the UK, and increasing concern over the need to reduce our use of fossil fuels, the topic of staying warm is a keen one on our minds. The need to stay warm in the midst of a British winter is important and often impacts on our daily lives and routines. Do we find ourselves going out less? spending less time in our gardens? keeping windows and curtains closed and wearing odd assortments of clothing which keep the heat close to our skin? Yes, all of these. Apart from the very hardy among us, we have been doing these things all of our lives to some extent, growing up with the experience that getting through winter is an annual challenge we must meet. And for some, this will be more the case now than ever.

I decided early on that cold mornings in the garden studio this winter were not going to do my sense of well-being any good. Despite electric heater, fingerless gloves and fleece, the cold still gets into your bones out there somehow. I planned instead to bring as much of my lino printing practice as I could to the kitchen table. This would ultimately change my relationship with my subject matter. The kitchen environment lends itself to the subject of still life more than anything; pots, pans, cylindrical forms and the paraphernalia of human life. Cezanne would feel at home. I was not quite ready however to leave my favourite subject of the garden, with it’s flora and wildlife behind, so I brought the outdoors with me and created a still life of gentle eucalyptus stems and pussy willow branches.

It is the quiet, silvery colours of these plants that drew me in initially, as well as the structural repetition of their stem pattern. The buds or leaves are positioned at rhythmic intervals along the vertical branch creating a harmonious and pleasing visual effect. Placing them in a vase was necessary to create the uplift in the composition but the vase is not included in my final prints. For me it is all still all about the plants. The subject matter is maybe in one way “Still life” but without the traditional elements included. Also, more in the manner of botanical illustration, each plant is depicted on its own; confronting its own identity, rather than exploring a relationship with another.

Despite the eucalyptus and willow being alone in their frames, I link the two prints via the design process as much as possible so that they form a pair which can be hung together. Colours are duplicated and the same background elements are used in each, introducing a pop of yellow which activates the cool tones in the plants. The “weave” effect of the pattern is something I have used before in my prints, and to me it suggest a nurturing domestic environment. These plants are definitely indoors, and not in their natural environment, but hopefully in a happy and familial space.

An aside to any lino cutters who read this blog; I would not recommend creating this pattern when using Japanese Vinyl – it was tough work cutting across the ridges of lino as I created the design and I was fearing developing a repetitive strain injury by the end of it! Maybe next time I will create the background pattern separately using a nice rubbery piece of Esdee Softcut instead!

Once carved, the final stage of producing the prints took place back in the garden studio where I have a workbench crisscrossed with registration marks and a specialist drying rack. I had to brave the cold for a little in the end.

It has been a few weeks now with the inks slowly drying out there in the January air, but having checked on them today I can see that “Eucalyptus Stems” and “Willow Branches” will be dry enough for signing and framing next week.

If they appeal to you, keep an eye on my website shop where they will appear shortly. There are only 5 copies of each. I hope they bring warmth to the future homes where they hang.