Julian Meredith – Printmaker

the printmaking process I use is mainly woodcuts what would traditionally be call Lucas but really I’m transferring images from whole planks and whole trees all across the planks from a whole tree as they use wood cuts in the traditional way and now I don’t do a lot of cutting it’s more to do with the tree and the silhouette of the plank and so is it’s not really like a woodcut but the techniques very similar I burnished the back I don’t use the press and I use any bit of wood however rasam distorted when you’re working is like being in a trance you have to you’re like checking and double-checking all the time and you have to go you have to go over the top its own.you I only know that it’s finished when I can’t do it any longer I’m just trying to get it even when you lose the three-dimensional quality of it and you change it from brown to blue you’re taking it into I don’t know what you call it as another space it’s no longer earthbound it’s more real it’s more water and air bound blues are naturally transparent color transparent color is very important and the understanding of transparent color that’s why a lot of people are using a screen to get a better image your opaque color is somehow deadening it’s a contrivance to get brightness paper and transparency is really important paper as a structure is very important I suppose because of our climate and everything everything’s so solid so stone like so heavy you know if there’s a lack of lightness and in the structure and transparency I feel there’s a need for it then I will produce it I don’t like my mind to reduce scale – somebody swallow like my mind to think how it was it so it’s also about the image bouncing out into spaces like not narrowing the image changing the scale narrowing your world down to a small little image in a book that you can close down on to want people to share my work at them I don’t like it to be small so people can put it in their own pocket I’d rather it was big so people had to put it on a wall that they had to share I don’t just go like a machine I’m all the time judging where the inks picking up and how much it’s picking up I think people have got confused about what people actually are doing by putting stuff under pressure and what people are doing by some photographic mechanical process people can’t see the difference and it’s hard to see often and so it makes people mistrustful copies of paintings I think stink I’ve got a starling and and this I think it’s a swift you hardly ever see them on the ground that you I try to project fish birds and animals into a visual future not to romanticize or be nostalgic about it these are my subjects and they’re really important to me I prefer to transfer an image from an object than to think about drawing the way it’s got to go all the way through my head and I have to make different sort of decisions that are not directly enough I’ll do another one if it’s got to go through my head then I do woke up but if it’s gonna come from the actual object to do it like those the the way I print frees me from all sorts of contrivance of you know sort of artistic contrivance ease everything I do is transferring images from something or other and it’s just called printmaking but it’s it’s really about transferring images I think that’s enough baguette that’s the thing after done a few is thought to see what I’m trying to do that then still only just is good enough for Swift and I think how fantastic I keep thinking I might do better in my head it isn’t I have to do work

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