Archives for posts with tag: female

As part of my NY resolution (not really, I don’t make them, but I did have a vague feeling I wanted to Do Something Different) to be more creative/find other ways of being creative, I booked an “Introduction to Etching” weekend, at Edinburgh Printmakers.  Never having done anything remotely similar, I had no idea what to expect (apart from acid baths and bits of metal) and I plunged into the decision with all the confidence of the Truly Ignorant. Had I known the extent of the process, the number of steps and stages, the tiniest part of which was actually coming up with the design/artwork, I probably would have hesitated. I am thankful that I was clueless as it was the most absorbing, inspiring, and mind-boggling creative activity I’ve undertaken since the photography degree! Probably more so, as I at least knew how to work a camera  beforehand, whereas I knew nothing about copper, zinc, hard ground, soft ground, stopping out, acids, intaglio (is that a pasta?), aquatinting or texture imprinting prior to Saturday morning.

Not really knowing what kind of subjects or approaches would work best with the media,  I  took a few of my photos that I thought might work/be the easiest (!) to draw on metal. I also started drawing again, about three weeks before the course, so took a couple of those to work with. I hadn’t drawn in many years, was never brilliant at it anyway, so took myself off to an evening of drawing with Jake Spicer, at Cass Art, Islington, in preparation, which was great fun. It started me down the route of trying continuous line drawing, which freed me up from self-doubt/expectations of being rubbish, as the end results couldn’t possibly be terribly realistic.

Day One

So, armed with the photos and the line drawings I turned up at Edinburgh Printmakers on Saturday morning. Scarily, everyone else on the course had been to art school, most were working artists, one a retired art lecturer, and at least half had done etching before, though back when it was more toxic.

Nae bother! Everyone was really friendly, the tutor, Jess, was brilliant, and, although it would have been nice to walk away with a masterpiece to hang on the wall, the real objective was to understand the process(es) so I could go away and have a think about what to create which would work best as an etching.

That said, I was quite chuffed with the results.

The first plate of two was zinc, to which I applied hard ground, cooked in the oven, cooled then ‘drew’ the line drawing onto the plate with a scraper tool. It was then etched (i.e. dipped in acid), then could be used to make an artist’s proof.

This is the line drawing I used (Man on the Cardiff Train!).

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Thank you to the man sitting opposite me on the London to Cardiff train a couple of weeks ago!

The second was a copper plate, onto which I applied soft ground, and worked directly on that to create the line drawing from this photo.

Marawa the Amazing, Jacksons Lane © Jane Hobson.jpg

London, UK. 16/07/2011. Marawa the Amazing, semi-finalist in Britain’s Got Talent, performs at Jacksons Lane, as part of the Postcards Festival.

Having etched the drawing into the plate, here’s the artist’s proof of this first stage.

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(The horizontal lines were caused by a fellow course member shoving it off the newsprint it was resting on whilst I made a packing tape ‘tail’ for the plate, in order to suspend it in the acid bath. Whilst disappointed at the time, I actually quite like the accidental marks, particularly in the finished piece).

Day Two

Buzzing with excitement after day one, I still had no idea what the textures and aquatinting processes would be like for day two. The zinc plate (with the man on the Cardiff train) was to be coated with soft ground, and textures chosen from an assortment of bubble wrap, wallpapers, ferns, feathers, netting, etc) to ‘colour in’ sections of the image. This was the bit that really turned the creative switch on in my head – the possibilities of this are endless and my fellow course members were creating some fantastic images using the textures as integral parts of the design. The person next to me had drawn a rural scene – a munro, a glen, some sheep, and used textures brilliantly to add in the grass, clouds, trees etc. Beats cross-hatching the entire plate! I had plenty of empty space in my design, but no real purpose for the textures, so went a bit abstract with mine! Hardened in the oven, etched and cleaned, the plate was ready for the printing press.

Here’s the final image for Man on the Cardiff Train.

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The copper plate was used to demonstrate aquatinting, which sounds like you are applying colour by hand, but is actually much more complicated. Airbrushing acrylic particles evenly onto the plate, the design is then ‘zoned’ according to how light/dark you want the various areas and ‘stop out’ is used to mask off areas in order of light to dark (the longer the plate is in the acid, the darker the areas go, as it bites deeper into the plate and, therefore, carries more ink – the opposite of exposure in photography!). I used three steps in my aquatint of Marawa and this is the result.

Firstly, the copper plate itself.

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and now the Big Reveal:

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Marawa the Amazing, Aquatint Etching. © Jane Hobson, 2016

The course fee also includes three months’ membership for Edinburgh Printmakers and I can’t wait to go back and try something else. At the moment, I am thinking of creating a set of circus etchings using aquatint.

If anyone is thinking of doing a printmaking taster course (or even summer school), I can highly recommend Edinburgh Printmakers.

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This week has been very colourful, to say the least.  The dress rehearsal of Le Coq D’Or (The Golden Cockerel), which forms part of the Diaghilev Festival, brought to London by Andris Liepa and the “Moscow State Music Theatre for Young Audience named after Natalia Sats”, took place on Tuesday, at the Coliseum.  The vivid costumes and sets made for very vibrant photographs, which contrasted nicely with the pared down (literally) costume and set in “The Anatomy of an Afternoon” danced by the lithe and amazing Paul White, in the Purcell Room at the Southbank Centre, on Thursday.

THE GOLDEN COCKEREL, Saisons Russes, Andris Liepa, London Coliseum, UK.

The Golden Cockerel in flight.

 

ANATOMY OF AN AFTERNOON, Purcell Room, Southbank Centre, London, UK.

Paul White in “Anatomy of an Afternoon”.

Paul won the UK National Dance Award for Outstanding Performance last year, for Meryl Tankard’s “The Oracle”, also at the Southbank. Having  photographed the dress run of this performance, I was particularly keen to see the new piece, and he did not disappoint. A man in perfect control of every part of his body, it was astonishing to see him just being in the stiller parts of the production.

 

Paul White, in Meryl Tankard's "The Oracle", in 2013, which won him the award.

Paul White, in Meryl Tankard’s “The Oracle”, in 2013, which won him the award.

And then, back to the Coliseum, to photograph the wonderful conductor, Alevtina Ioffe. I was delighted to notice the hugely talented Ioffe at the dress rehearsal and immediately put in a request to photograph her for my Leading Ladies project (see previous post). Luckily, she was happy to participate, so back I went to the Colly on Friday afternoon and did the portraits in the auditorium, before she went back to rehearsing Petrushka, during which I took photographs of her at work. Normally only seeing the back of the head, and the occasional flourish of baton, from the stalls, it was fantastic to see the orchestra’s view of a conductor in full flow. The passion, absorption and concentration was wonderful to witness.

Alevtina Ioffe, Conductor, London Coliseum, UK.

Leading Lady, Alevtina Ioffe, in the auditorium of the London Coliseum.

Alevtina Ioffe, Conductor, London Coliseum, UK.

Ms Ioffe at work.

The time has come, the Walrus said, to talk of, well, one thing really. Leading Ladies.

It all seemed a bit premature to start blogging about it before I had anything to show for the project. I needed to put my camera where my mouth was first.

So that’s what I’ve been doing this year. And now, as the year is nearly at an end, and it will then be on a downward slide to my fiftieth (how did that happen?!) I wanted to ramp up the momentum on the project.

You see, I’d like to launch it on my fiftieth birthday.  January 2015. Well, it would certainly take my mind off the more negative aspects!

12 months is not so long to get the rest of the project shot, raise funding to exhibit and publish, generate PR, produce the exhibition etc. I’d better get going then!

So then, what is it? (I hear you ask).

Oh all right then. This is the introduction that I have been sending to my prospective subjects, to explain briefly about the project.

Leading Ladies: celebrating the careers and achievements of women in the performing arts.

A personal project by Jane Hobson, photographer.

Women are underrepresented in the performing arts, both on and offstage.  Yet there are many amazing women working in the industry, across all areas – actors, directors, producers, lighting designers, choreographers, dancers, writers, set and costume designers, sound designers, stage managers, company managers, artistic directors, musical directors, etc, etc. Visibility, as well as representation, is an issue.

Through my photographic work, I want to celebrate the work these amazing women do, and their achievements, despite the inequities, and to raise awareness of underrepresentation as an issue, stimulating debate on why such sexism is still apparent today, decades after legislation on gender equality.

By photographing women in the performing arts in their environments, whether personal or professional, their strengths, personalities and careers will be highlighted. A short biographical text will accompany the photographs, to add context, written by the Leading Ladies themselves.

The intended outcomes are a book, an exhibition and a feature/features.  The recent articles in the broadsheets highlights that there is media interest in this area.

I didn’t know what I’d started when I commenced the project!  I had obviously hit a nerve.

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Jessica Swale, director and playwright, The Globe. © Jane Hobson, 2013.

There is such strength of feeling about the topic that my existing network of women I had met, and worked with via production shoots and press photocalls, expanded rapidly, as one Leading Lady introduced me to many more.

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Tanya Moodie, actor, RADA. © Jane Hobson, 2013.

As such, the project has grown organically, and now needs some deliberate planning of job roles to add balance across the sectors.

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Mimi Sherin, lighting designer, Royal Opera House. © Jane Hobson, 2013.

So far, there are eleven Leading Ladies in the gallery, with a further 12 who have agreed and are yet to have their shoots scheduled. I also have a wish list of other women in varying roles who I should love to include.

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Jenny Topper OBE, producer, Hampstead Theatre. © Jane Hobson, 2013.

So, Dear Reader, what I should like from you (by private DM or email, please) is introductions to fabulous females in such roles as: musical director, sound designer, sound engineer, stage management, props design, set and costume design, circus performers, stage crew/fly’man’, choreographer/movement director (all genres), opera (all roles), conductor, management. All career and life stages.

I want this whole project to culminate in a wonderful celebration of the work of all women in the performing arts. And to also act as catalyst for change and inspiration.

It’s not about me. It’s about you.