Highlights from our 2011 publishing programme and new works.
Gillian Ayres was the first great English female abstract artist, and is widely acknowledged as one of Britain's foremost painters. Mirabell and Tivoli are from a new series of woodcuts, Ayres' first foray into this medium. They will form part of her solo exhibition of new paintings and works on paper to be held in both of our galleries in October 2012. Also in 2012 a major exhibition of her prints and works on paper will begin at the Victoria Art Gallery in Bath in February and will then tour to the Turnpike Gallery in Wigan, the Royal Albert Memorial Museum in Exeter and the Royal Cornwall Museum in Truro.
Prismatic Diptych Analogue is a unique colour variation of Prismatic Diptych, Ian Davenport's largest and most complex print to date. It was produced using a pair of two metre by one metre copper plates earlier this year at Thumbprint Editions in Camberwell. Each etching from his Colorplan Series is an orchestration of 27 different combinations of fluid lines of colour which pool to form puddles at the bottom of the compositions and is printed onto a delicate layer of coloured Chinese paper. To make these works, Davenport first makes a painted study the same size as the intended print in schematically contrasting colours. The study is photographed and the image split into three components, each containing every third dripped line. These components are then transferred to photosensitive copper plates to be bitten in acid and then steel-faced. For printing, each line is individually hand-inked and then each plate is printed in order to build the image part by part.
Lisa Ruyter is an American artist who lives and works in Vienna. Since 1996 her paintings have been based on individual photographs which are edited, refined and transcribed onto canvas. The Alan Cristea Gallery first invited the artist to London two years ago to create the series of woodcuts called The Women and for our second collaboration she returned to make this much larger woodcut on Japanese paper ofWhere the Sidewalk Ends.
Woodblock Inlays are the outcome of the first collaboration between Richard Woods and Alan Cristea Gallery. They relates to the ‘Offcut Inlays', a previous body of paintings on MDF, which were informed by Woods' Pop take on marquetry. The dynamic composition of the woodcuts is reminiscent of Suprematist aesthetics and the strength and severe geometry of their line recalls the abstraction of High Modernism, whilst maintaining a post-Pop wit. Woodblock Inlays are a step further in Richard Wood's ongoing exploration of the relationship between the functional and the ornamental.
In 1984-5 Lichtenstein produced a series of Landscape paintings, the imagery of which was composed of a combination of ‘cartoon' and ‘real' brushstrokes. In 1985 he explored the theme in a series of seven prints. Some of the images refer to masterpieces by other artists, while others are invented. Lichtenstein produced both the lithographic and the screenprinted brushstrokes by first painting the stroke on vellum and then transferring them to photosensitive screens or plates, in this way retaining all the fluidity of the original stroke. The softness of these strokes is balanced by the hard-edged woodcut ones.
Postcard from Venice, Alpha Omega is part of Tilson's ongoing Postcards from Venice series of works which combine collaged envelopes with etchings, aquatints and screenprints inspired by Venetian stonework. The postcard and envelope have been recurring motifs of his work since the 1960s. This print was made to celebrate the publication by the Royal Academy of Arts of the second edition of the artist's catalogue raisonné and is accompanied by a copy of the book.
Milroy is most celebrated for her serial, repeated imagery of everyday motifs including shoes, rocks, plates and locks. She is deeply involved in all aspects of Japanese culture and has celebrated this in various images of Asian ceramics.