Original artwork is re-considered, respected for reproduction. The concept of re-making and turning to a program for publication is a fascinating exercise. How can each piece retain its unique hand, captured within the artist’s message and still express the emotion, each time?
From start to finish, the etching process is a most sensitive medium, which affords all the spectrum of detail and texture. Each scratched bright line and blemished burr, incise delicate as butterflies hover. The ink alchemy forms a hand blended paste of colored tints all tended towards, intense, complex black. Impressions are pressed into finest, museum quality handmade papers. Piranesi etchings of Roman Ruins, Rembrandt self Portraits, Whistler on the Thames, Pieter Breugel and Lucien Freud each found a home in their intimate, etching privacy.
Published as a limited edition by the artist. First Edition Proofs in two runs of two impressions each; Camelback and Camelback and The Boys. The second edition is in series of 20 impressions.
Subsequent to the print, each copper plate is restored and sealed within its purpose designed, etched crystal case.
Masters of Etching: Alistair Gow and Ian McNicol at the workshop of Glasgow Print Studio, Scotland 2016.
Located behind the artist’s home, the drawing took on its own life and grew in size from a small palm sized pen study, to become an outstretched landscape, expressing the spirit of the sacred Camelback Mountain in Phoenix, Arizona. “Each morning for seven days, I embraced the exchange of energy. There seemed to be a total connection between my senses and the haunting shadows, as the sun traced the crevices. I looked at that mountain so many times and what once seemed a benign background, arose to its haunch as I felt its history.” Dsn.
Camelback 45.8 x 152.4 cms. (18” x 60”)
Camelback and the Boys 72 x 152.4 cms. (28.4” x 60”)
To record "One of the largest copper plate etchings ever completed successfully".