‘Tangram Slice I’ by Diane Bresson

‘Tangram Slice I’ by Diane Bresson

Diane Bresson is a London based textile designer specialising in Print. Her art explores how the relationship between craft and technology can create playful and dynamic patterns. Read on to learn more about her practice!

Tell us about your background in textiles

I loved studying textile design. We were really encouraged to experiment and were focusing on the process rather than the final product. Even though I specialised in print, studying knit and weave was also very beneficial, especially to learn about different materials and fibres.

How are your designs made?

I get my inspiration from various fields but I am mainly intrigued by how elemental shapes can be built into more complex compositions. For my series of limited edition prints I took inspiration from the Tangram puzzle which was studied in more depth by Martin Gardner. During 25 years he wrote a column called ‘Mathematical Games’ in the Scientific American that explored the construction of puzzles, patterns and optical illusions: an infinite source of inspiration for me!

How important is colour to your work?

Colour is essential to my work. I first started printing with a few colours and then played around by mixing printed artworks with digital and projection. I recorded new combinations of colours and gradients with photos and videos that I then translated back into screen printing, in order to build shapes and colours together.

What is your working technique?

For my series of prints I first started exploring combinations of shapes in smaller scale but quickly moved on directly to screen printing. I combined lines and dots with solid colours to make them interact with each other. I prefer printing without a precise plan and improvise along the way with stencils and patterns. Many things that I thought were mistakes ended up creating interesting visual effects. The outcome was two ten meters long rolls that were then scanned and divided into separate prints.

Can you elaborate on the digital aspect to your working process?

After the rolls were scanned I touched up a few things on Photoshop. Most of the little defaults that are barely noticeable on a 10 meters roll appear very obvious on a high resolution crop of it. However I made sure not completely erase every imperfection and keep a crafty feel.

Where do you see your work belonging?

I think it is quite versatile and so far it has been for all of the three mentioned above. Exhibition are always a great way to put together a body of work as well as showcasing new and/or bigger pieces. It is as well very gratifying to know people have my prints hung up in their home! I also had to opportunity to have one of my wallpaper panel featured in Elle Decoration Netherlands in which it was beautifully put together with other designers’ pieces for a photoshoot. It was an amazing opportunity to see how my work can interact with its environment, and the result was stunning.

What is the intent behind your distinctive style?

I’ve always liked Op Art and deceptive visuals that makes you look twice at something and makes you wonder how it is constructed, like M.C. Escher’s and Vasarely’s work for instance. The scale is also important, I want people to be able to immerse in the colours, especially in my bigger wallpaper pieces. 

What giclee paper do you think works best with your prints?

For my series of limited editions giclee prints I settled on the Hahnemuhle Photo Rag. I wanted something slightly textured to contrast with the sharp geometric shapes.

Tell us about your life outside of your designing

I have been working part-time in a wallpaper studio since university and it really pushed me to work on a bigger scale. It also allowed me to attend several trade shows and discover many amazing designers and products.

What interests and hobbies which influence or inspire you?

My main interests and hobbies revolve around art, design and print to be honest but when I am not working on some geometric patterns I like painting more traditional portraits as well, mostly friends and family. I like graphic novels and comics as well, recently I was stunned visually by Michael DeForge’s Dressing. 

Do you have any upcoming shows or publications?

I took part in the Cluster Craft group show recently which is now unfortunately over. It gave me the opportunity to work on projections of animated patterns in addition to my prints and wallpaper panels, and it is for sure something I want to continue to develop.

I am also published in the newest issue of Fused Magazine in their column about recent graduates.

Check out Diane’s website or Instagram.


An interview with Lucy Brown

Lucy is a London based illustration artist and designer. Her beautifully detailed drawings on paper and vellum combined make these otherworldly scenes appear all the more ephemeral. Although traditional in style and technique, these imaginative creations succeed in poetically evoking and enchanting our sensitivity to this fine art.

'“Together her exploration of animals and humans is an attempt at understanding the complexities between the natural world and human nature.”

Point101: How did you become interested in illustrating?

Lucy Brown:  I have always been interested in drawing people since I was a little girl, which developed into my career in costume design. There’s a curiosity I have towards understanding what’s beyond the surface of a person - pain, joy, intrigue, love, playfulness? Then exploring these ideas through drawing animals came later as I started to feel more connected with nature and the environment we share. I’m beginning to carve out a space to express my creativity through illustration, and trying to replace my sense of imposter-syndrome with an authentic delight for what I do.

P101: Why the material preferences? 

LB: I used to exclusively paint in watercolour (which I still enjoy), but then Dura-lar was a great discovery for me. The way the matte film takes the coloured pencil enables a more delicate approach to drawing which I think adds to the whimsy of the storytelling. I would like to make use of the milky transparency of the material and begin experimenting with layering the film sheets.

Media print is definitely something of interest to me.

P101: Tell us about your technique  

LB: I like walking along the river by my apartment, spending time with my sister’s dogs, Dolly and Violet. There’s a therapeutic element to being around nature and animals which opens my mind to make space for ideas to come forward. Then I take this inspiration, along with a cup of coffee, and develop the ideas through simple sketches and colour stories. Once I have the basic layout and composition in place I focus in on the details. Having come from a design background I have developed quite a solid process of working through ideas and trying to be consistent. However, I do like to let my work evolve in a way that feels organic and natural. I’m working on trying to leave some of the detail out, to make room for the work to breath a little.

P101: How long does each illustration typically take?

LB:  On average, a piece would take anywhere between 20-40 hours, but it depends on what time I have available. Sometimes a tight deadline can produce the most uninhibited work. It leaves you less time for self doubt.

P101: Where do the narratives to your drawings come from?

LB:  I like to reminisce and day dream…..I’m a classic Pisces. Nostalgia is often gently weaved throughout my work, with a devotion to compassion. I like each piece to be it’s own little world, a place where I can explore dreams and stories. I’m inspired by Vermeer’s magnetic use of colour and light. I enjoy listening to one of my favourite bands, Fleet Foxes, whilst I draw. Their music is so beautiful and their storytelling through word and melody is haunting and romantic. My quest is to capture that on paper somehow…haha! I’m always drawn to films and plays where it’s about what’s not said as much as what is said. I like leaving a little space for the audience to breath their own voice into the artwork. However, the other side of me sometimes just wants to draw something silly and a little humorous, with colour and vitality. 

P101: Are you strictly a solo artist?

LB: I usually work alone, however I’ve worked in theatre for many years so I know the triumphs which come from collaborating with fellow artists. I’m always open to the possibilities of such creative adventures as well as pushing myself further with my work.

P101: Where do you envision your artwork belonging?

LB: I would love to exhibit in a gallery, that’s a dream of mine to create a series for exhibition. Currently, I’ve been creating for personal prints. However, collaborating with an author for illustrative book work would also be a delight. I really just love drawing and working and seeing how it evolves.

P101: What type of paper do you think works best with your printed artwork?

LB: I love the Hahnemuhle Photorag because of its texture and beautiful print quality. Lovely Pauline at Print 101 recommended it to me.

P101: How does this artistic pursuit fit in with your day to day life?

LB: My day to day life is drawing, walking my sister’s dogs, then designing (I still work as a Costume Designer, which I love). I try to commit to drawing a little each day, to be curious and inspired by my surroundings. If I wait for a lightening bolt to strike then I would never work.

P101: Do you have any other interests/hobbies that influence/inspire you? 

LB: Does singing along to musicals (badly) and watching Miss Marple count as an interesting hobby? I really just love the simplicity of reading a book and drinking tea, with cake of course! Oh and I love Arthur Miller, reading his plays are always a source of inspiration for character study.

See more of Lucy’s work here.

The Universal Archive: William Kentridge as Printmaker is the first UK exhibition focusing exclusively on the print output of the much exhibited artist. Printmaking has always been part of Kentridges practice, he has produced more than 400 in the last 25 years. The Universal Archive: William Kentridge as Printmaker exhibits approximately 100 of these, focusing particularly on serial works and more experimental works.

The Bluecoat is the first venue on the exhibition’s tour, which was organised by Hayward Touring and opens with Little Morals (1991), a suite of eight etchings with sugarlift. The imagery is apocalyptic and traces South Africa’s transition from apartheid to democracy. William Kentridge did not start his career as a sculptor, film-maker, sculptor, theatre director or, as we see in this exhibition as a draughtsmen and printmaker. Following in his fathers footsteps (Sydney Kentridge was a leading South African anti-apartheid lawyer) he first studied politics and African Studies before shifting his focus to art and theatre. Kentridge has been quoted as saying he made these prints “with Goya in mind”. Figures and objects in newsprint, some figures so black they appear as voids. Men with trumpet heads, both acting as noise-makers and receptacles, cavort about with fleshy naked Hogarthian women.

Positioned in relation to Little Morals, lies the brushed and bruised looking larger print Sleeping Woman and a series of eight etchings (with soft ground, aquatint and drypoint) entitled Ubu Tells the Truth (1996–7). This series depicts the imagined world of French writer, Alfred Jarry’s fictional and monsterous character Ubu Roi, a Polish dictator who murders and steals his way to fortune. Chalk lines are drawn around the character in the prints, suggesting his psychological state at various moments. The prints stimulated a theatre production in 1997, Ubu and The Truth Commission and the chalk lines were projected onto the physical characters on stage.

The long central gallery space at the Bluecoat is often used as a darkened space, for film, video and installations (most recently the premier of John Akmofrah’s film about Stuart Hall, The Unfinished Conversation). For this exhibition, it has been opened up allowing the visitor to walk down its full length, full of light from the garden outside. In a central shallow alcove is the largest print in the exhibition (2.81 x 3.54m), Learning the Flute (Reverse) from 2004. The apparatus of a stage set is depicted with an eagle sitting at its centre. A projector throws its light through the bird and a beam is channelled from the birds head. Made in conjunction with Kentridge’s 2005 staging of Mozart’s The Magic Flute, this image is a window into Kentridge’s working processes - technology mediated through myth and poetry resulting in constructed, theatrical, devised storytelling.

This gallery also plays host to what Hayward cite as the centre piece of The Universal Archive -  an accordion-style fold out book, Portage (2000) - laid out in a vitrine. Four meters long, dark ripped paper silhouette figures are mounted onto unbound pages of French encyclopedia La Nouveau Larousse Illustré. Seemingly walking across the book as if an evacuation is occurring –  the figures lug their belongings on back and shoulder. ‘Procession’, as the Hayward website points out, is one of Kentridge’s main thematics – the depiction of procession with all its ambiguous connotations – military marching, carnival, exodus, funereal, celebratory and ceremonial. A good work to look at in relation to these ideas is Kentridge’s Shadow Procession animation from 1999. A video of this, in its entirety, can be found on youtube and the link is provided at the bottom of this article.

Positioned on the far side of this gallery is another series that relates to another theatrical production. Nose (2007-2010) - made up of 30 small-scale prints. All reference a 1930’s opera from Shoshtokovich (it in turn inspired by Gogol’s 1930 short story of the same name) in which the central characters nose detaches from his body and proceeds to ascend the social ladder independently of his host. Looking a little like a potato, dark and straight from the earth - the Nose is shown hanging out in bars enjoying drinks with women, riding in the countryside atop a prickly cactus horse (there is an intimate moment of the Nose and horse kissing). In another he is shot, point-blank range with the proceeding print showing the Nose exploded, murdered. There is something very powerful in these prints, a Kafka-eque melancholy in the Nose’s plight - a very serious kind of absurdity. Kentridge re-staged his own version of The Nose at the New York Metropolitan Opera House in 2010 and these prints were created alongside the production. Acting as performance layouts, performance stills and performance records, they straddle the past, present and future of the theatrical event.

Several works in the exhibition are so recent they have never been seen before in the UK. The most interesting of these, Universal Archive Cat Assemblage (2012) is a cat re-arranged four times. The scratchy skeletal thing arches its back, dis-assembles, dis-joints as if he in the middle of a particularly cruel Magician’s sawing the girl in half act. The cat appears again in one of a series of prints made onto vinyl records in the Living Language series (1999). The gallery information tells us that Kentridge began by experimenting with printing onto gramophone records. He purchased “a pile of old 78rpm records but found that the Shellac-based discs were too fragile for printing as they shattered under the pressure of the press” so he began using vinyl records. The result is a very delicate etched surface that provides a frame or plane in which the narrative can exist within. The record shapes transform the action or environment for the character into a twisting whirly-tron spiral or, in some cases, an endlessly cycling miniaturised globe that, here we see again, the characters trudge along and around – the endless procession.

The Living Language series are juxtaposed with some of the more political of Kentridge’s prints in this exhibition, for example the silkscreen on paper series Art in a State of Siege (1988) which deploys recognisable the recognisable imagery of the political poster and slogan. The arrangement of these works particularly well with some of the Bluecoat’s architectural features. The final gallery downstairs at the Bluecoat, which has an atrium inside/outside feel, presents Art in a State of Siege facing floor to floor to ceiling windows, out to the commercial hub of the city, LiverpoolONE. The endless processions of Kentridge, the cycles of daily life and political turbulence of space and land are reflected back from that which is outside. The rhythms of the city and its theatre - the rhythms of the people, characters with their chalk line patterns and constructions – these are the rhythms of Kentridge.

The Universal Archive: William Kentridge as Printmaker will travel on to Mac in Birmingham (6 March – 2 June 2013) and then to QUAD in Derby (15 June – 18 August 2013).

AuthorSacha Waldron