https://vimeo.com/67764277

Dissemination/publications

'HiJack' was published as part of Occupied Times take over of Arts London News recently. Lizzie & Nina from the project team have successfully written and designed the article. Well done girls this places outside inside in the outside world. 

HiJack June 2013

Outside / Inside end of project publication has been designed and is being printed by Calverts. We have chosen them to print the broadsheet as they have excellent sustainable credentials and use all vegetable inks and their energy use is from renewable sources. Arthur Stitt, the print manager has been extremely helpful. We have selected a fantastic paper stock from Favini (distributed by Fenner), which we feel is suitable for our project. "Alga Carta is a paper manufactured using polluting alga harvested from the Venice lagoon, combined with FSC certified fibres. Algae blooms at the end of Summer in the Venice lagoon as the warm water combines with pollution. The algae must be harvested to maintain the lagoon's eco-balance (circa 5,000 tonnes of wet algae is removed annually). The algae (seaweed) is used partly as pulp replacement but mainly as a filler and this accounts for its unusual smooth feel and the random specks".

There will be 1,000 copies produced, if you would like a copy please contact:

j.blake@lcc.arts.ac.uk / b.salvadori@lcc.arts.ac.uk

Read the story here: Alga Carta – Tree Free paper

Manufacture: favini

Printer: Calverts

top: Front/A2 to A6 concertina fold
Bottom: Fold out broadsheet
2 colour print

Dungeness / Solar Plate (final workshop)

Dungeness;boat, hut & nuclear power station

Our last workshop from this project was set at Dungeness on the Kent Coast, some 70 miles from the chaos of the Elephant & Castle. A remote and exposed location where sea, fishing shacks, wooden chalet style homes and the nuclear power station all meet. A perfect setting for the solar plate session, where we could be truly exposed to the elements and with little resources apart from the materials we brought and natures materials, littered around.

Briefing session on the beach

A grey and very overcast day, one similar to all the other 2 days of the project. The end of May should have brought warmer temperatures and clearer skies (after a short review we noted that January, March & May temperatures were all similar). After a 2 hour coach journey we explored Derek Jarman's prospect Cottage and examined some of his reclaimed sculptures within the wild garden, to give the group context to the place. During this short stop we discovered the bus driver had sunk the coach wheels into the verge! A marsh land and shingle episode. We piled up our materials and headed to the beach unfortunately leaving him to scratch his head and call a tow truck.

We camped next to a small fishing boat, where 'the old sea dog' went about maintaining his boat while we soaked up the place and were briefed. A more patient and experimental print process was to proceed. We built a mini darkroom (for coating the plates), more reminiscent of a coffin, where we had to half crawl into and coat the plates. Beach combing for objects and then mark making with found tools enabled the maker to connect more closely with the location and create abstract marks and impressions. Using sea water for plate cleaning allowed us to be mindful of the resources we could use. Some of the external factors are uncontrollable, as the UV/sunlight are difficult to calculate. The exposure time and printing stages are also not for a maker who wishes to control every detail and print instantly. This process is akin to the place and requires you to sit back and soak in the process and place together.

Plate preparation

The group also took advantage of the inspiring place but walking, photographing as we waited for plates to dry being mesmerised by the spirit and atmosphere of Dungeness.

We concluded the session by printing some great plates (who that were dry) and experimenting with registering, layering and colour combinations. As the sun finally came out, low tide revealing the mud bank and then came the sand fishermen.

The coach was finally towed out and we returned to London, within minutes the coach fell quiet as the group all fell asleep!

Here are a selection of the plates produced on the day:

A step by step guide on solar plate from artouride (who we provide green printmaking workshops for).

Heygate prints

Below are some examples of the prints produced at Heygate Estate/screen-printing workshop.

paper stencilled type

collaborative print

masking

textural patterns/stencil

collaborative print

mixed media

direct drawing on screen

multiple layers & paper stencil

paper stencil

Screen printing in the Heygate/reflections

print on the surfaces (pic Lizzie)

Some reflections after the day:

 I've learnt  that your environment really does make a difference to what work you come up with, and how it informs what you already have in mind. (Shuhena)

It made me travel to another epoque and imagine the lives of the people who used to live there. I could really feel those lives around me while printing. (Maria)

On reflection, Hampstead was about using what was available in environment such as direct mud prints, where as at Heygate we responded to the environment through a medium. (William)

'A mistake' can be turned into a good piece of work. If I was working in the studio, I'd start to work again but working outside required me to respond quickly (Jenny) 

...To accept spontaneity and unplanned developments and accidents as a creative benefit (Philly) 

The main thing I learned was that screen printing doesn't have to be kept inside the studio. And being outside really made my work more spontaneous and responsive to the slightly eerie atmosphere of the estate. (Lizzie) 

Heygate Estate printing session (pic Lizzie)

stencil printing

I'm really interested in repeating the experience, but this time only using natural dyes and things you find in the environment to make your patterns and final prints and somehow combining the two workshop experiences together in order to take with you for a printing day just few essential things like the screen, maybe a pre-prepared natural colour and some paper to make the experience even more interesting and unpredictable. (Nina)

The freedom to print anywhere such as the walls or the floors really appealed to me, I really enjoyed getting stuck in with different colours and trying out different techniques (Hector).

I learnt about colour, awareness of the heygate estate's story and the people that live(d) there, street art ideas, a sense that any area can be transformed very quickly, the ability of nature to 'reclaim' manmade objects when left alone (Oliver).

Watch Barbara discuss the project fro Green Week at LCC

http://vimeo.com/61214030#

Collective print (pic Lizzie)

(Pics by Philly)