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The
Van Gogh Experience : David Preston
6
July - 6 August, 2004
Alliance
Française
257 Clarence St
Sydney NSW 2000
Tel: 02 9267 1755
A
series of lino cuts inspired by a "pilgrimage" to Van Gogh's garden
in Arles, South of France in 2000.
Opening:
Tuesday, 6 July, 2004 at 6.30pm.
Free admission - All Welcome "The
seeds of my pilgrimage to Arles, in the south of France in 2000 to visit 'Van
Gogh's garden', actually began about 20 years ago when my mate Brett came back
with three drawings he had done from a garden seat in the grounds of L'hopital
de St Paulo, St Remy. Van Gogh painted hundreds of
canvases in that garden during his 18 months incarceration. For Brett, it was
like confronting his mentor. As I translated Brett's drawings
into etchings for him he urged me to go and "experience Vincent" for
myself. For years I heard Brett's mantra: "You've got to go there man, you've
got to go there and experience him…" I finally did -- and the experience
was beyond belief. I was fortunate enough to be allowed to
paint in Van Gogh's room in the hospital. As I set up my easel next to Vincent's
famous chair, the hospital's medical administrator asked me to be careful not
to spill any more paint on it! One of Vincent's paintings
of the view from the window was on the wall. As I painted this same view from
the same place it was incredible to realise that it hadn't changed at all." 
The painting that
resulted - 'Le Repose de Van Gogh'.
The above
painting 'Le Repose de Van Gogh' became the basis for a lino cut, as outlined
below. The Making of the Linocut
Step 1:
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After drawing with charcoal on a block of linoleum, the negative
'undrawn' areas are cut out with small, specialised tools called 'lino cut knives'
available from most art shops.
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Step 2:
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The finished cut is now 'inked up'. My favourite ink is an oil-based Japanese
ink. The photo shows me rolling out the ink on glass. The aim is to spread the
correct amount of ink evenly in preparation for rolling it on to the block. The
amount and consistency comes with practice - after three or four prints you will
discover how much is enough.
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Step 3:
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The roller used to roll the ink off the glass and
on to the block is made specifically for the job. The one I use is made to order.
Alternatively, you can find a selection on the shelf next to the lino cut knives.
The photo below shows me transferring ink from the glass to the block. The must
be done a bit at a time and patiently. It is important to remember that not enough
ink is better than too much - you can always add more.
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4:
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The chosen paper is carefully laid on to the wet "inked
up" block. Because the ink is sticky the paper adheres to the lino and doesn't
move. The photo shows me using a marble rolling pin in lieu of a printing press.
Although this is a more time consuming and primitive process it ensures each print
is individual.
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Step 5:
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Finally, the print is lifted from the block. This can be
an exciting moment - unless you have stuffed up and have to start all over again!
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The
finished linocut :
73cm x 92cm Edition 50.
Contact
David Preston
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