I lost my instagram account earlier this month - pinched by a russian bot, I assume, since the linked email address suddenly became dot ru instead of mine. I accidentally (please don't ask, it makes me feel silly) set up another one the same day, and that was stolen next morning. I wasn't happy without one, so I gave it a few days before going for a third one, and that has survived so far, though you lose faith in the system. I disconnected it from here because I've long since forgotten how the code works and couldn't face finding out again in order to update it - I only mention the whole saga at all for the headline :-).
The Flourish part is, of course, the open exhibition at West Yorkshire Print Workshop. Yesterday was - again, of course - the last day, so off I drove, across the rather miserable Pennines. Flourish always presents an enormously varied offering, both in technique and style, this year ranging from Kate Desforges' gorgeously textural lithograph and Sara Lee's delicate and muted japanese woodcuts, through many other pieces of work, to Theresa Taylor's large copper sulphate etchings. Even in one discipline the different outcomes are fascinating - Maxine Foster combined her screenprints with other techniques (including bandsaw!), Hazel Roberts - who won first prize - produced colourful graphic screenprints, and Nicole Polonsky's work concerning her brother's suicide was enormously poignant.
The Flourish part is, of course, the open exhibition at West Yorkshire Print Workshop. Yesterday was - again, of course - the last day, so off I drove, across the rather miserable Pennines. Flourish always presents an enormously varied offering, both in technique and style, this year ranging from Kate Desforges' gorgeously textural lithograph and Sara Lee's delicate and muted japanese woodcuts, through many other pieces of work, to Theresa Taylor's large copper sulphate etchings. Even in one discipline the different outcomes are fascinating - Maxine Foster combined her screenprints with other techniques (including bandsaw!), Hazel Roberts - who won first prize - produced colourful graphic screenprints, and Nicole Polonsky's work concerning her brother's suicide was enormously poignant.
Many of the pictures above are details from the original works. This was in most cases because where there was a lack of glass the detail and texture could really be appreciated, and I really did appreciate them - it's a shame that glass, useful and even necessary though it might be as a rule, must provide a barrier to the immediacy of the work.
One last arty thing to mention. I was waiting for a friend outside Leeds Art Gallery, so went in to see what I could find not far from the entrance. What I found was Mark Wallinger's 'Threshold to the Kingdom' (2000) - a slow motion video of travellers coming through automatic double doors at International Arrivals, to the strains of Allegri's glorious 'Miserere mei, Deus'. "The music adds an aura of spiritual mystery to the work and makes the unfolding action appear to be perfectly choreographed" the accompanying board tells you, and says everything that needs to be said. It was amazing.
One last arty thing to mention. I was waiting for a friend outside Leeds Art Gallery, so went in to see what I could find not far from the entrance. What I found was Mark Wallinger's 'Threshold to the Kingdom' (2000) - a slow motion video of travellers coming through automatic double doors at International Arrivals, to the strains of Allegri's glorious 'Miserere mei, Deus'. "The music adds an aura of spiritual mystery to the work and makes the unfolding action appear to be perfectly choreographed" the accompanying board tells you, and says everything that needs to be said. It was amazing.
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