It's only been a couple of weeks since I left the studio residency at Signal Arts Centre, due to the second lockdown, but I did get a lot done in the three weeks that I was there, and am happily continuing the momentum. I posted a blog at the start of the residency here.
My plan while at Signal was to focus on creating silk-fibre paper (I had learned how to do this in a Zoom workshop in the summer and blogged about that workshop here) and use these pages as surfaces for alkyd monoprints. I spent the first week and a bit at Signal making silk fibre paper, which I blogged about here and then I wanted to start printing, but first I did some test prints of images that I was interested in creating as part of Memory Is My Homeland. I have previously blogged about the origins of this body of work here and have continued to blog about it numerous places on this blog (NB, at the beginning I simply referred to it as "The Home Project").
One of my reference photos is of my Mum & I, in the 1980s, standing in the backyard of my parents house in Bray in front of the clothesline, pegs awaiting laundry. The backyard was a very tiny space, off the kitchen and, while I lived in this house for a couple of years in the late 1980s, it mirrored my own backyard on the same street later when I returned to the east coast from living in Kerry, on the west coast. In any case, it was the image of colourful plastic pegs, waiting on an empty line with a white-washed stone wall behind them, that interested me.
Because I knew I wanted the handmade silk-fibre paper to be as featured as nuch as the printed image, I was working on small acetate plates, using alkyd paints to create monoprints. However, even with a tiny brush, I could not get the details of the pegs on the line, and the press just seemed too happy to squeeze the colour enough to blur the image. Although I do not think this image (below) worked, I did not give up on the idea of the peg image!