HOW TO; Carborundum – chine collé plus drypoint/engraving

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CARBORUNDUM – CHINE COLLÉ  and some drypoint My featured picture for this post shows “Nature´s Spirit”. It contains it all; carborundum, drypoint and chine collé. The print was done without any sketch, just starting out painting carborundum, following up with drypoint/engraving. It was a journey of the unexpected. And still, looking at it afterwards I recognize it all. I feel …

Printmaking is ruling when it comes to the big questions. 

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What is causing this seemingly unstoppable need for expressing myself visually? Well, we build upon a long tradition leading us back to the first traces of human art, on stones, in caves, and sculpted materials of humans. These paintings connected people. People believed in the power of making signs, that it could influence their lives. Today we have the explanations …

COMMUNICATING WITH THE PLATE

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It was like hitting the wall. I was surfing safely on the wave, creating one print or more a day, sturdy and happy. And then I hit the wall. I was totally unprepared. I had become confident on “how to” in this series of monoprints, and suddenly I did not find the tone. I struggled with the composition, and the …

Travelling the world on my artistic journey, 2015 – 2018

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I always think of what is ahead, the new challenges and how to solve them. There is a constant urge for finding paths I have not walked before. I am lucky, I have everything I need to create where I live. I have great studios, and I have peace and time to concentrate. The only thing I do not get …

ART PRINT RESIDENCE – a paradise for printmakers

ellyp Residencies and travel, Studio, Uncategorized

Four wonderful weeks!! They passed so quickly, and suddenly I am back to normal. I have to arrange everything alone, get all materials, solve every little problem – and the bigger ones, keep my studio clean….all these things which were handled so wonderfully for me at Art Print residence in Catalonia. Ariadna, Claudia and Jordi are there, arranging the studio …

The winding road to a finished print.

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There are so many choices to be taken before a print is done. Often I spend days just preparing bits and pieces of Japanese papers to be used for chine collé, without using them…until later. I paint, twist and fold, or I punch and burn them. Sometimes I can tell immediately that this little piece is just what I need …

Pulling a print

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Making one of a kind prints is an intense process. Sometimes the picture is created on the surface, by working in the ink. Other times I am using drypoint, collagraph and chine collé, or a combination, like here. The plates can be turned around, and printed on top of each other, each choice giving several new possibilities. Or as here, I …

The trap of intensions

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If I have an intension, a vision of how my work is going to look when finished, I am limiting it´s possibilities to what I already know. Often when I fall into that trap, I will not be happy about the result. The image does not look like something I could imagine in beforehand. On the contrary, if I just let go, …

Back on track – searching for the core

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For me printmaking is the best way to explore the possibilities of the visual language. Mixing printing processes from drypoint to linocut, adding inkjet prints, trying to make it all dissolve into a unity, not achievable in any other process. The result is one-of-a-kind prints. From the same plate totally different images can be built, layer by layer. There are layers …

To explore rather than to explain

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Through printmaking I get the tools to explore the visual language based on it´s own qualities. Not as a way to present a written story, some extern idea, but on it´s own right. The story of lines, textures, and colors meeting, mixing and building up – layer by layer. The history of the print is based on craftsmanship, invented for bringing a message …