Artist Research - Karen Wicks - Printmaker Who’s Work Is Inspired By Buildings and Abandoned Structures
In light of investigating other lines of experimentation through the charcoal work, I have decided to look at the work of Karen Wicks. Although not an artist who works with charcoal, the similar subject matter and an emphasis on form and tonal range was something that interested me at this stage of my project. Wicks is also an artist who is a former teacher, and has developed methods of producing work that inspires her workshops she now puts on. Similarities in how Wicks and myself use our work as a catalyst to educate is something that is important when forging connections between my research, practice and workshop content. It keeps the theme of teaching others skills based tools the central focus of my project. For the benefit of my research, it is my intention to focus on Wicks’ ‘Ghostbuildings’ body of work, as well as make references to her teaching methods and how she incorporates the two.
Thoughts on ‘Ghostbuildings’
‘Ghostbuildings’ is a series of collagraph prints created by Wicks, whereby she uses a variety of recycled packaging as her chosen material to produce her printing plates. This process
compliments the subject matter because the plates become “fragile and disintegrate” (Wicks, 2021), just like the buildings do over time. This similarity of time and use creating damage on both the printing plate and the subject matter forges a connection.
The subject matter looks at buildings that are in disrepair, abandoned and decaying, subject matter that has some similarities to that of my own. Looking at artists who use similar subject matter in their work is important because it gives me an understanding of how buildings are viewed and interpreted by different people. Different levels of emphasis is put on some aspects of a piece than others, which impacts on the overall outcome of the piece.
This process of printmaking brings in elements of collage into the printing process, making the use of recycled materials such as food packaging particularly effective. The shapes created by the food packaging and other recycled items adds to the shape of the structure Wicks is trying to depict,
therefore making a big impact on the composition of the piece. I like this effect because it gives a nod to the process as well as showing the viewer the outcome, which adds to the interest and
charm of the piece. It also shows how Wicks has an understanding of composition, form and shape in relation to how the packaging fits with the subject matter because there is clear decision making in terms of how much of the packaging is left visible to the viewer, the rest is removed. This is something that recurs throughout Wick’s work, and is carefully considered especially in areas where the sky would be located. Typically Wicks leaves the foreground, the focal point or main subject and some of the vegetation around the structure. This gives you an indication of the landscape without giving you the full location. It adds to the mystery behind the story of each building, which is something I particular like about this work.
Looking at another example of Wick’s work, the level of detail in some of the areas of the piece is particularly prevalent. Having detail in a piece that is quite dark in its tonal range is important to create some distinction within the shapes created, and also give some realism to the subject matter being portrayed in ink. I think the trees in this piece are a good example of how the detail in the reference has been acknowledged and interpreted effectively. This is complimented by the grass or vegetation in the foreground where you can see smudges of the ink in round motions, giving that hint of the process of applying the ink to the plate.
I have also included one of Wick’s plates within my research because I think the materials used to produce the finished print could be art work in their own right. This example shows a former medication box as the base of a print. I like how it is clear what the packaging was formerly used
for, and the shape it has been cut into for the purposes of printing. Again, it is clear that a decision has been made in terms of the shape of the packaging, how it should be cut to reflect the reference and what should be left as negative space in the final print. Cutting the plate gives the print structure, a definite shape and begins to carve out the composition of the final product. I think it shows that this process of printmaking requires a level of understanding about composition and tonal range because you have to to make decisions about certain aspects of the print before you press the print, and then have no control of how it comes out. Changing the variables you can control at an early stage is therefore very important to the process.
How does Wick’s Work link to my Practice and my Current Project?
Looking at a printmakers way of working is good way to understand tonal range better because they are working with a medium with very fine margins in how they apply ink and take it away. This can be likened to the use of charcoal because you are applying a dark material and findings ways to blend or rub it away to create a varied tonal range. Having an understanding of how to interpret different buildings with a varied tonal range will help me depict my subject matter with with a higher awareness of detail and composition, which are both aspects I am consistently wanting to work on. Now I have begun working in charcoal in an effort to combine two aspects of my process together, where appropriate, looking at other ways artist translate their subject matter in their chosen medium, with a focus on similar elements like tonal range and composition becomes very important. It is clear in Wicks’ work that the final prints have lots of mid-tones, giving an indication of different materials, textures and light and shade. This adds to the detail and the likeness of each structure is build on the use of a well informed use of tone. It has shown me that adding every detail is not always the most effective way to make something look realistic, but rather the fundamentals of drawing, or printmaking in Wicks’ case, used effectively can produce a strong outcome.
Teaching Others
Wicks is a former teacher who now shares her process through putting on workshops and online resources. As her process is somewhat approachable due to the use of recycled packaging and only a few other art materials such as ink and cutting materials, it makes the process approachable for anyone to try. Having a process that is approachable is important because it makes those watching you create such work feel like they can achieve a similar outcome without needing to be
strong at art. It also gives people the confidence to try something they may not have seen before, again making it really effective for workshops. Wicks has subsequently put a pictorial tutorial with brief captions about her process on her website, which is a fantastic method of engaging with people about what she does, how she does it and how simple it is to achieve something so impressive. Here, I have included a small section of the tutorial. It shows the process of producing the plate in predominantly picture form, which again makes the process approachable. The writing has been kept brief, without too much explanation to keep the process manageable for someone who may be trying this process out at home. When applying this to my work it has shown me the importance of making my process approachable, interesting and not overcomplicating how I explain a task or how I approach something when making educational content. Making something too complicated will result in loosing the student’s interest and them not being able to do the tasks given to them. Also, adapting my process into an easily accessible process for a student who has limited art supplies is something I need to consider because, like with Wicks’ process, her primary materials are packaging that people commonly have in their homes, making it easy to access. Finding ways to make my online workshops simple in terms of the materials required will be something I will take into further consideration in the future because it has a significant impact on if students can participate in such activities.
Also, accessibility to such tutorials is another important aspect of Wicks’ work. She has made the process available on the internet for free, something very untypical in the realm of workshops and e-resources. Many educational websites require payment for their material, which often limits students from accessing them. Findings ways to be accessible to a wide demographic is therefore another important thing to consider when creating education content about your practice as an artist. Wicks also includes short videos documenting her process to supplement the tutorial, which gives the viewer further insight into what she is doing, how she is doing it and the outcome she creates, giving the viewer a well-rounded and in-depth experience of the practice, which I think is particularly effective.
Overall, looking at Karen Wicks’ work has been very insightful and important to the development of all aspects of my project. Although I am not looking to work in a similar manner, acknowledging similarities between drawing and printmaking will further my understanding of my process, how to improve on it and ultimately how to teach others about what I do. All in all it has been a very important aspect of my ongoing body of research.
Source:
Wicks, K., 2021. Collagraph Process. [online] Ghostbuildings. Available at: <https://ghostbuildings.wordpress.com/collagraph-process/> [Accessed 7 July 2021].
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