James Brown
“Balgal Scrub”,
2023
Drypoint on heavy
wove paper, artist’s proof (no edition).
Size: (plate) 16
x 9.5 cm
My printmaking
practice is a personal exploration rather than a pursuit of editions. I delight
in experimenting with different techniques, and the process itself, the tactile
experience, is what truly excites me. A single, well-considered impression is
often enough. Occasionally, if an initial result sparks particular interest,
I'll make a small number of variations. I might adjust the inking or wiping of
the plate to see if I can coax out an even richer image or experiment with
different colours or paper surfaces. But fundamentally, my goal is to learn
through the act of creation and to have that single, evolving piece reflect
that journey.
My drypoint of
a detail from the impenetrable mangrove scrubland at Balgal Beach in the
tropical north of Australia perfectly exemplifies this approach. The first
print was created by inking the plate with a warm black, and then wiping it to
leave a subtle plate tone (image on the left). I was quite pleased with the
outcome. Building on that initial success, I then re-inked the plate, this time
using a cooler black to see how the image might shift.
But I didn't
stop there. Before pulling the print, I embarked on a further experiment. I
rolled a rich ochre colour onto a separate piece of paper and then gently
pressed that paper, ochre-side down, onto the freshly inked drypoint plate (see
centre image). The result was an ethereal "floating" effect, the
ochre subtly colouring the image. For me, this added depth, enhancing the
visual intimacy of the print, making it feel less stark than the original.
My final leap
of experimentation was printing the image onto a sheet of old papyrus, a
souvenir from a trip to Egypt many years ago (see right image). The initial
excitement of this choice, however, faded. Ultimately, the complex texture and
inherent beauty of the papyrus sheet ended up competing with the image of the
mangrove …and I think the papyrus won!
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