Which artistic techniques did you use to create the print? What made you gravitate towards them?
My practice is predominately drawing based, [so] it felt very natural to continue in this manner for this print. I knew I wanted to work with raw pigment and pastel to create a really beautiful soft base, and then soft but dense blocks of colour with quick drawn marks layered over the top.
I made many drawings in order to find the point of resolve where the colour scheme felt right, and the marks expressed and created the feeling of a rich and curious summer. My initial drawings are always small, roughly A3, quick and energetic — always done with pastel and pencil — trying to capture or conjure the feeling of right.
Out of all the initial drawings that I made, one of the very first ones that came out felt as though it both matched and brought a wonder to the brief. It was this drawing that would ultimately become the final print.
Before arriving at a stage of completion, however, this single drawing was recreated in a more refined, resolved way on a large scale. The larger scale gives room to work more slowly and carefully, layering more and working the pigment into the drawing to give a vibrancy and energy that I can’t always achieve with smaller scale works.
Overall, the final work is very painterly, with elements of drawn marks that give the piece movement and texture. It is at once soft, intense and welcoming — all qualities that I find working with pastel on paper has — which is why I gravitate to it so much in my personal work, and did again for this piece.