Your Invitation to Spatial Fragments Opening event

March 26, 2024

I am delighted to share our poster for our upcoming exhibition. Our preview evening and opening event is on Friday 5th April at 6 to 8pm. To give us an idea of numbers we are asking all those that intend coming along to the PV evening to register on the Eventbrite site. scan the QR code to take you to the eventbrite site or click on the link.

Location - Boathouse 5, Portsmouth Naval Historic Dockyard, PO1 3LJ

Entry is free, just come along to the Dockyard via the Victory Gate entrance. During the week of the exhibition. One of us will be there each day to greet visitors.

Day time opening times - 11- 4.

Spatial Fragments is a location-specific project that seeks to record and respond to research into the existing architectural features, artefacts and archives linked to Storehouse 9, an historic building in the heart of Portsmouth Naval Dockyard.

Working with combinations of printmaking, drawing, sculpture, book art and installation Fine Artists Pippa Charlesworth and Sally Tyrie and Architect Deniz Beck have been making work that reimagines and reinterprets the discoveries they have made from their repeat visits. The resulting work and installations seek to convey a personal interpretation of a sense of place. A collaborative celebration of the building, its history and the ways in which art can capture and preserve the essence of a place.

An authentic, personal and beautiful reimagining that observes and celebrates their fascination with the space. A homage and visual reminder of the beauty of imperfection and decay.

About my work for the Exhibition;
For Spatial Fragments I was inspired by the experience of spending time in the fascinating abandoned spaces of Storehouse 9 at the Portsmouth Naval Historic Dockyard. Opened in 1782 this building has an industrious past, once housing essential provisions and supplies for the naval vessels that docked along the wharf. Evidence of its role, sometimes subtle, can be seen on every pillar, windowsill and littered across its floor. The historical and actual exist alongside each other.
My research, both visual and historical, has taken me on a journey with mixed media printmaking, translating my findings into book making, fabric printing and photography. They reveal discoveries from the archives and overlap this with the question of why we are drawn to derelict decaying spaces. What is it about ruins that attracts our attention?
The resulting work seeks to make visible the time spent in these quiet captivating spaces. To tell a story that interweaves material and process with ideas of absence and presence, darkness and light.

Spatial Fragments

March 19, 2024

This April I am delighted to be putting on an exhibition that brings all the work together from my residency at Storehouse 9.

Exhib dates - April 6- 14th . opening times 11 - 4 each day. In Boathouse 5.

Special preview evening Friday 5th April 6 - 8pm

We will be posting an Eventbrite link very soon to register if you are coming to the Preview night.

This March

March 5, 2024

A quick post to tell you about some upcoming exhibitions and series of events, happening soon !

Women In Art is a multi event celebration of local women artists organised by the Grateful Arts Club. I am proud to be part of this as I have some work in the Aspex learning space. The exhibition at the Aspex Gallery opens this Thursday at a Celebration evening and is followed by a series of events at the weekend. Also in conjunction there will be an exhibition at Hot Walls Round Tower as well as a show at Artspace.

check out the websites for each event for precise opening times.

In Retrospect

January 22, 2024

I am delighted to present mixed media work by Students of the Visual Narratives - - Print, Paint, Stitch course. Since July they have been working their way through the 10 modules that guide and support them on their printing and markmaking journey with me.

To conclude their course they were invited to explore and develop work to the theme: In Retrospect

This remarkable exhibition, beautifully Curated by the Fibre Arts Take Two team, showcases students' responses to the theme criteria:

Sadly it wasn’t possible to include many of the images in this post, but you can view the entire collection, and read about the work, in this online Flip Book.

𝐈𝐧 𝐑𝐞𝐭𝐫𝐨𝐬𝐩𝐞𝐜𝐭 challenged students to explore time, memory, and introspection through diverse sources. The theme encourages delving into the rich tapestry of meanings and contexts associated with chosen subjects. Students are prompted to think of it as a question, fostering a deeper understanding of their artistic pursuits. The focus is on investigating qualities, processes, and nuances to create a narrative and considering whether research or creative process should guide artwork creation.

Visual Narratives, my Online course with Fibre Arts Take Two, will be re released for a specific time in November 2024. You can register your interest and hear about dates for it’s release here.

My Online Course goes on sale Friday 28th July.

July 24, 2023

I am delighted to announce that Visual Narratives, the online course I created with Fibre Arts Take Two goes on sale this Friday - the 28th July. To express your interest and be notified when this course is on sale please click on the link which will take you to the Fibre Arts Take Two relevant page.

Watermarks, detail, 2023 . part of a group of work created from my time in Wales last year.

About this course (from the FATT website)

“Fine Artist Sally Tyrie is ready to share her signature methods used to create her stunning works of art with you through her new online course with Fibre Arts Take Two.

Your training will begin with researching and examining areas of interest, before revealing ways of reimagining mark-making and collage from Sally’s considered and painterly approach. Use various print techniques without a press, including gelli plate, photo litho and collograph printing whilst learning to abstract visual narratives from any source of inspiration to create an ambitious body of work.

Students will feel like they are invited into Sally’s world for an intimate workshop & deep dive into her processes and techniques whilst experiencing both urban and coastal landscapes that inform and inspire her work.

All course materials, including self-paced beautifully filmed streaming videos and comprehensive resource guides, are within an easy to use member portal and yours to access and revisit at any time.

Join a worldwide community of enrolled students who come together in a private online forum and share printmaking adventures directly with Sally Tyrie. Ask questions, bounce ideas, share knowledge and benefit from this course being your resource for life!

Watermarks, Print and stitch, 2023. For a group of work from the Mawdadch Residency.

This is the 2nd release of this course and the cart will be open fro approx 2 weeks.

There is a limited number of places available.

As part of this course, which includes approx 10 hours of short beautifully filmed and detailed videos and tutorials, you will be invited to join an optional online Facebook closed group. This is to share your insights, ongoing discoveries get support and advice. We (myself and the FATT team ) support your studies by checking in online. We aim to pop online each day but of course there may be some days when that’s not possible — eg;; im dancing at a certain upcoming huge music Festival !! ! :))

There are also from time to time some live question and answer sessions.

All in all a very generously supported course.

A not very flattering image of me behind the scenes of filming - but i kinda like it :)

Angela from Fibre Arts Take Two and myself out and about capturing some harbour views for filming.

At the start of the course you are encouraged to identify an area of interest that will inform your drawings, prints and mixed media work so we take you out to various locations and you get to see how I collect inspiration and what I then do with these drawings and photos when i’m back in the studio.

This is very much about finding your voice and taking you into exploration.

It was such a joy chatting online to the students, who signed up for the course last year, and seeing what they made. Here are a few of the feedback comments about the course, that came our way.

“The course content is excellently thought through and packed with information. Sally presented in a friendly and professional way through a series of concise and clear videos. All the content is made available at the point of registration, allowing one to work selectively and at a pace that suits. The Facebook group provided great support and encouragement for sharing explorations, as well as being a great place to ask questions. Sally’s course has given me so much confidence to build on my photographic skills through play and exploration. I now have a much clearer understanding of what it means to have a line of enquiry. Go for it! There will be no regrets! “ K. Williamson.
“Learning with Sally was a great experience and a thoroughly enjoyable one. I have learned some new skills, which work alongside others learnt on a previous FATT course and I look forward to using them in my work going forward. Using the skills learnt on Sally’s course will help in approaching a project in new and different ways. Photography had been something I used to use a lot when at college but it had fallen out of my skill set, so it is good to relearn to use it as a starting point and as part of the resolution of a project. I can see that in future, many things that I have learnt will be put to good use! Don’t hesitate! Do the course. FATT courses are simply great, making online learning a very enjoyable experience. “ L. Milan

For me the most important part of Sally’s teaching was how to develop a meaningful body of work. I enjoyed every aspect of the course including the input of the amazingly supportive and knowledgeable artists within the Facebook group. Story is an important element of my work, this course helped me to clarify how to develop that further. If you are looking for a course which can add depth and meaning to your work you’ve found it. N. Slack.

Vestiges

May 4, 2023

I have a new set of work that i’m delighted to be showing soon n a group show titled

Time Traces Transformation.

Vestiges, Print and mixed media on paper.

Slippages, Digital print on Kozo with mixed media.

My exhibition statement

My work for this exhibition draws from research into the notion of dwelling places and rituals. The mixed media prints i’ve created reinterpret a group of lumen prints that I made to document momentoes, fragments and chance finds, mainly collected from the daily walk. My resulting works reveal my interest in ways to combine photography and printmaking to investigate narratives about transformation. Multi-layered imagery that offer alternative dialogues and explore the tensions between materiality and immateriality.

Precious vestiges, mixed media bookwork.

Exhibition dates - 18th May to 25th June.

Meet the Artists Event - Sunday 21st May 2- 4pm

Location - Parndon Mill Gallery, Parndon Mill, Elizabeth Way, Harlow, CM20 2HP

Opening Times - Tues to Friday 10-5. / Sundays 2-4.

workshop news

March 29, 2023

My copy of the exhibition book ‘Reveal Conceal’ arrived recently and it’s been such a joy to look through. This book put together by Fibre Arts Take Two is a selection of work made by students who enrolled onto my online course. It’s an opportunity to throw a spotlight on the work they made and the ideas behind this work.

I’ve been looking through some of the work the students have been sharing on the Facebook group we’ve been chatting on and its been lovely to see the development of their work from first ideas and thoughts through to the outcomes and more resolved pieces.

Jacqueline Quinn-Howarth collagraph print

As part of the online course participants have been learning processes I use in my work and predominantly that’s techniques that combine drawing, photography and printmaking. In the online course I also teach processes in bookmaking, collage and collagraph printmaking.

Fundamentally, this is not a techniques driven course but my Signature Course that supports students to discover areas of interest through research and learn ways to take these ideas into a sustained and ambitious body of work.

video of book

If you are interested in either finding our more about the online course Visual Narratives - that i’ve collaborated on with FIbre Arts Take Two, or expressing an interest in this course when it gets re-released - I’ve heard this week that the course is being re-released in July.

To sign up to get early notification of this re-release click on - this link - which takes you to the Fibre Arts Two website.

The re release is scheduled for July 14th and will be available for a limited time as we can only release a set amount of places - students get our online support the first few weeks and the opportunity to submit to an online exhibition in addition to the 10 modules of indepth learning.

Time Traces Transformation

March 6, 2023

In May I’ll be taking part in a very special group show at Parndon Mill Gallery.

Special because it’s with 5 artists that I met whilst a Fellow at Digswell Arts in Hertfordshire . Titled, Time Traces and Transformation, we will have our work on show in this beautiful gallery alongside our Sketchbooks.

“ I had a flashback of something that never existed” Louise Bourgeois

Working primarily with analogue photography, mixed media and printmaking the explorations i’ve been undertaking for this project have been inspired by ways to map the tensions between materiality and immateriality.

At the start of the project I did quite a bit of reading and went to some shows that I thought might help my ideas. My early sketchbook investigation shows a rather non linear and conflicting search for ways to develop imagery and ideas that responded meaningfully to this project. However, on reading and re- discovering the work of FD Cartier I had a kind of light bulb moment that kick started and led to current investigations.

“Through the Art (of FD Cartier) we rediscover the temporal multi-layeredness of the photographic image (and the) magical effect of natural light interacting with light sensitive materials”
David Drake, writing about FD Cartier

In researching and exploring ideas for this project it felt important to me to begin with objects. I had thought that i would continue with landscape themes but I was also keen to do something a bit different here - To use this project as an opportunity to work in a different way and to go back to more analogue photo methods. By exploiting light and shadow and using objects in my studio I created a group of tiny Lumen prints.

“The only thing we can grab hold of with any surety is the nature of impermanence”
Antonia Shaw writing on Cornelia Parker in Silver and Glass

Objects used for these prints represent random fragments collected on walks, things given, and even small slices of imagery that sit around my studio walls. Once I had fixed them I examined the imagery on the computer screen and played around with alternate versions. I noticed (and was drawn to) the more ethereal versions of these edited, inverted and layered interpretations. Some looked more enigmatic and uncanny. Dissolving forms that are held and suspended.

“.. and all these notes and stones and so on are precious vestiges of something that took place and played out” Claire Louise Bennett, POND .

The studio exploration has currently moved to the print room and although its early days i’ve been very happy with the results. I have been enjoying working from a plate that I created using some of the (Lumen print ) imagery that I was more drawn to. This first involved making quite a few photo collages to try out some compositions and proportions.

Collage and sketchbook exploration, studio Feb 2023

“The artists concern is not to render an exact physical likeness of things but to make visible what lies beyond what we immediately see. the hidden meanings which underline the gulf between reality and appearance” David Drake writing about FD Cartier.

Photopolymer etching on Somerset Satin. In the Portsmouth Printmakers Studio, Omega Centre. Feb 2023.

The next stage of this work is a case of getting to know my plate. I always say to my students that once you’ve created your plate then begins a kind of relationship with it - a journey where you need to discover ways to get the most from the plate. No plate is the same as another even if you’ve used the same processes.

More about the Exhibition;

Dates - 18th May - 25th June 2023

Location - Parndon Mill Gallery, Harlow, Essex.

Other Artists participating- Caryl Beach, Mary Down, Jonathan Emmerson, Marian Hall, Declan Hoare,

Reading list referenced,

Silver and Glass - Cornelia Parker and Photography

Wait and see, F and D Cartier

Pond, Claire Louise Bennett.

Thinking for Printing

January 7, 2023

The upcoming Printmakers Council exhibition, titled Thinking for Printing, takes place at the start of February at the wonderful Bankside Gallery, along London’s Southbank. I am delighted that one of my recent mixed media prints, Titled Semi Permeable and created as a response to drawings of Mawddach estuary, has been selected for the show.

Location - Bankside Gallery, Thames Riverside, 48 Hopton Street, London SE1 9JH

Dates - 31st Jan - 5th Feb 2023

Times - 11 - 6

Semi Permeable is part of a group of monochromatic drawings that respond to an immersive time looking at, and drawing from, the Mawddach Estuary in Wales during a residency in May 2022.

Thinking for Printing features work by members of the Printmakers Council.

‘For this exhibition, the Printmakers Council sent each of their members an A5 sketchbook and invited them to record and respond to the concept ‘Thinking for Printing’. The result of this exciting project will be displayed alongside the finished artworks at Bankside Gallery’.

Some reflections on making.

The timing of the arrival of my pristine new A5 sketchbook, courtesy of PMC, just before the Welsh residency was perfect. I love working in sketchbooks though will admit that I found the A5 size quite challenging - definitely out of my my comfort zone. I tend to go for A4 landscape shaped sketchbooks and i think that the reason for this is that it encourages me to be more flexible with shape and composition. Looking back over the drawings in this cute A5 book i’m noticing them to be more compact and with more of a square format. I did try some stretched out, more panoramic drawings but they done feel as strong.

Working in a sketchbook for me is an opportunity to take risks, to explore, write, rub out, tear out; it doesn’t matter, and thats why journals and sketchbooks are great. I always love looking at other artists books so it’ll be a fantastic bonus to have these books on show with the finished work. They really are - and should be - an insight into the artists mind.

Reflecting on the process of making these prints, it hasn’t at all been a straight route. My initial sketchbook drawings reveal a fascination for the textures, and chance finds along the shoreline of the estuary and local town of Barmouth - The historic structures and fragments at the waters edge.

The area I was studying sits at the base of the Snowdonia National Park. The varied landscape of intertidal waters, peat bogs and distant mountains was quite simply outstanding. So much possibility and only 2 weeks to study it !! My solution to this was to focus on 2 aspects. One focus was the estuary itself and the other was the area of land behind our lodging at Mawddach Crescent. This was Arthog Peat Bog of which I write a bit about in an earlier Blog Post. In this previous post I also write about the benefits of working alongside fellow resident Artist Sue Jarman .

So, having decided on working on 2 sketchbooks - one for each focus (and group of work) - freed up my brain to compartmentalise each aspect of this study and how to make the best of the 2 weeks. This post examines the stages of creating prints that respond to the drawings, collages and research into the Estuary.

Prints in progress at Portsmouth Printmakers studio,

The sketchbook development and especially the collages, helped my mindset for what followed. A new way of ‘seeing’ the estuary. A way of revealing what was drawing me to this subject. After a couple of very immersive studio days at Portsmouth Printmaking Studio in early Autumn, working with some new A5 photopolymer plates, it was back to my garden studio with the prints and some more collage ideas.

It felt important to keep the prints very monochromatic because it was the patterns, movement of water and sheer beauty of all those varied shapes that drew my eye. I had also collected quite a few of the images at night time and was drawn especially to the light on the water. Often silvery and always mesmerising.

Collage, like printing, is a process. I find it helpful to begin with something that acts as a foundation and then build up layers from there. Sometimes I use layers to push back a part of the print or break up an over busy image. Often I use stitch to draw attention. Maybe to reveal line or strengthen tone. I also like to draw into the work but I try to make this very minimal. Adding stitch is better than drawing as it can of course be easily taken away if it goes too far.

Semi permeable i, work in progress - At Portsmouth Printnakers studio

Some of the prints from this study On show at;

Jack House Gallery - current show runs to 15th January

Bankside Gallery - Thinking for Printing - 31st January - 5th February.

Drawings from Storehouse 9

November 12, 2022

Over the last few weeks i’ve been working on and off location for a collaborative venture with Ankle Deep Studios. Although still in the early stages i’ve been very intrigued by the direction the project is taking me.

For a specific time period I have been granted privileged access to one of the empty storehouses at the Dockyard. Also with support from the Dockyard Trust, I have been photographing, drawing and researching in order to unpick this rather eerie and unique space. History is everywhere you step and look.

I have been recording my trips and development in a project sketchbook and have amassed a stack of drawings and photos that explore in particular the glimpses, textures and marks on the floors, pillars and walls especially. I love the fact that everywhere you look the soft light from the windows imbue a soft and ghostly light on the surfaces. Sometimes in long slanted projections and at other times a dusty haze.

Underpinned by regular informal meetings with Claire and Deniz of Ankle Deep Studios, it feels to me that this work and project is moving at an exciting pace. Collaborating with them is adding another layer of possibility. Another fresh perspective. We have some very exciting plans .. its a case of watch this space ..

For more images see the gallery page on this site

For more info about Ankle Deep Studios.

Back home

October 11, 2022

In September I visited Australia for an 18 day trip. Part work part rest.

Our first week was in Melbourne - We just loved this place !! Very arty and a calm but vibrant buzz., especially in the area of Fitzroy, where we were staying. Melbourne’s reputation for being the best place for coffee is NOT exaggerated.

The second week was further North in Ballarat with the hard working team of Fibre Arts Australia.

My 5 day workshop was focused on Printmaking combined with collage and assemblage. I was super lucky to have the most wonderful bunch of 12 workshop participants. Generous, caring and talented. A dream workshop bunch.

We were all based at Ballarat Grammar for the week. A large complex of buildings and gardens including some wonderfully austere red brick buildings. It was early spring there , so a bit nippy !! Huge thanks to Kerrie Maloney for the pic of me with Margaret, Sally, Jenny, Wilma and Barb. Also, on the course the lovely Leanne, Annette, Sally Rose, Kerrie, Julie and Laura.

Im delighted to share with you here a little peek at the work my wonderful bunch of workshop ladies produced. They were so dynamic and I’m super proud of what they created. We had a laugh at every minute. An exhibition at the end of the event provided a very useful and satisfying way to see the work made.

Ps ; Hubby came with me too, which was really really good - here’s the man : ) standing next to Ned Kelly’s armour at the State Library of Victoria.

You can visit the Online Exhibition from the Fibre Arts Australia event and see what the students made on all the courses. An inspirational insight into what goes on at these events held by Fibre Arts Australia. A beautiful way to all see the work made.

Exhibition at Jack House Gallery

August 16, 2022

This October I’ll be joining 27 other members of Portsmouth Printmakers to showcase our current work. The beautiful Jack House Gallery in Old Portsmouth will play host to our work which will include Screenprint, Lino print, Collagraph, Book work, Monoprint, Etching. We have lots of new members and many will be exhibiting as part of the membership for the first time. The exhibition is on for two weeks and there will be a Printmaker member invigilating each day.

Portsmouth Printmakers Instagram link

October will be a busy month as Fibre Arts Take Two will also be realising my online course. It has been so rewarding and fascinating working with them and I am excited and rather nervous to see how it all looks on screen. I must admit that I don’t like seeing myself on camera.. gulp !!

During filming week - working with Fibre Arts Take Two - for my online signature course.

We feel confident that the course will be a beautiful way to delve deeper into how I work and an invaluable way to learn if you can’t get along to an actual on site course with me.

At the end of the month - on the 22nd and 23rd October - I’ll be doing a Two day Printmaking Course at Portsmouth Printmakers studio. This will focus on some of my favourite techniques that combine photography and printmaking. This course can be booked via the Makers Guild Website. places are limited to 6.

Behind the scenes

August 5, 2022

In little over month now I will be heading over to the other side of the world to visit Australia and deliver a week long workshop for Fibre Arts Australia. Preparations are going well, although my work planning has been slightly delayed by a bout of Covid this last week. Happily I feel more clear headed now and I’m back in the studio getting on with some jobs on the enormous ‘To do List’.

In the studio, image courtesy of Fibre Arts Take Two

The Australian trip was meant to involve 2 workshop weeks but the organisers have sadly had to cancel the first week very last minute. The main large event in Ballarat is still going ahead so this means that I now get to spend a week seeing the sights of Melbourne before heading north to Ballarat.

Following my trip to Australia I will be taking part in a few events upon my return to the uk (at the end of September and into October.)

Drawing on location at Farlington Marshes and rain clouds are heading our way. image courtesy of Fibre Arts Take Two

The First one is the release of my Online Signature Course through Fibre Arts Take Two. This is a mixed media course which looks at methods I use in my work. Specifically, photography, printmaking, collage and stitch. We have packed loads in so participants really do get an amazing detailed course. In depth instruction on methods and approaches is also followed up with online support, interviews and feedback.

Collagraph plates in the studio, image courtesy of Fibre Arts Take Two

We are currently in the process of editing this course and adding the material for the course content. I’ve been making lots of sample work to show students that specifically will help them with their own development.

We filmed the course way back in April in my home studio in Southsea, Portsmouth, over a week which was beginning to experience some surprising hot weather. it was mighty hot in the studio !!

In the studio, April 22. image courtesy of Fibre Arts Take Two

The amazing team of Fibre Arts Take Two work work with very talented artists based all around the world so I was chuffed to be invited to work with them. They’ve recently sent me some behind the scenes photos and I am delighted to be able to share them here.

Angela and myself on our location shoot at Langstone Harbour, Uk April 22

My studio is not at all a big space so the team had a challenge fitting everything in - but we did it !!

In my next post I will be promoting the exhibition which i’m taking part in during October. This is an exhibition of current work by Portsmouth Printmakers, of wish I am a key holder and technician. Exhibition dates are 5 - 16 th October. In the meantime if you are interested to be notified when the Online Course becomes available head over to the Fibre Arts Take Two page for my course.

Reflecting on recent collaborations

May 29, 2022

It’s Sunday and I have unexpectedly found some time to write an update of the things that i’ve been doing. Admittedly I should probably be catching on some domestic chores - hey ho. !! … Also, I do find that putting things down like this helps me to organise my thinking and aids the whole reflection process.

In this blog post there are some pictures and reflections from my time working with the talented team of Fibre Arts Take 2. They spent a week with me, mainly in my studio, in order to film an online course which will take the form of my signature course. This course is now in the editing stage and will be released later in the year. It covers many of the processes and techniques that I use in my own work. I share my approaches, ways of thinking and methods of developing ideas and generating outcomes to specific starting points.

Farlington Marsh on day 1 of filming - location visit to collect images

Being involved in filming of this nature was fascinating. I learnt so much not only about the technical aspects of filming both indoors and outdoors but also about myself, what I do and why I do it. There were a fair few comedy moments, mostly caused by some classic bloopers on my part.

It was a wonderfully focused time and I am so looking forward to sharing my course later in the year when it will be released. If you would like to register your interest in my Online Course just follow the link.

Photo from Fibre Arts Take 2 ( Instagram) filming in the studio

Photographic prints from recent visits to Langstone Harbour (below) marsh areas and Mawddach Valley (above)

A few weeks after the Fibre Arts take 2 filming I went off to Mid-Wales for a two week immersive artistic period following an invitation from the team behind the Mawddach Residency. Situated on the top floor of a large house, which overlooks the tranquil and at times breathtaking Mawddach Estuary, this Residency ‘provides the opportunity for selected artists-in-residence to fully immerse themselves in their work’

On day 2 - Sue drawing the Mawddach valley from a look - out point at Barmouth, Gwynned

The objective of this time was to work on my current ideas and make new work. This was also a collaborative time as I shared the residency studio and accommodation with Sue Jarman, a friend and colleague who I met at Digswell Arts. Sue’s work is quite different to mine and this was especially appealing to us. To work with someone who approached things differently. To learn about our methods, share ways of working and view the environment through different eyes.

A trip at dusk to collect photos - photo credit Sue Jarman

My main intention going to Mawddach was to investigate the estuary itself and its marshy wetland edges which hug the various inlets of the estuary. However, my interest was especially piqued by the peat bogs that straddle the area at the back of where I was staying. The Arthog peat bog is managed by the RSPB and is a ‘remnant of a vast raised bog which once covered much of the Mawddach valley.

Although a relatively small area it was fascinating to investigate and quite simply wonderful to discover on foot. The ditches that criss cross this area became an obsessive pursuit. I especially loved photographing the ditches very close up but did get a few funny looks from nearby campers - probably wondering why on earth I was photographing a muddy ditch !!

The images I have come away with reveal an aspect of the bog’s ditches that especially drew my attention. namely, the fluorescent, coppery, molten-like surface that appeared in certain light conditions. I read that millennia is literally locked up under these bogs. …. A sobering thought.

I also was delighted to learn that ‘work is under way to bring this area back to its natural state’ since having gone through a period of being drained when peat was removed.

The contribution of Peat Bogs to the Climate crisis due to their ability to store carbon and to ‘slow down’ and store water is immense. Bringing them ‘back’ would ‘suck’ even more carbon dioxide from the atmosphere.

Gelli plate drawings working from the Peat Bogs on fine Japanese paper - photo credit Jake Spicer

Bogs haven’t had ‘good press’ and there is a fair bit of resistance to the RSPB conservation measures from local landowners so it’s a delicate and complex ongoing discussion.

There is more about the Value of Peat Bogs on the radio programme 39 Ways to save the Planet

The enormous quantity of photos and images that I collected over the 2 weeks was such that I am still going through them all. I also began some print exploration towards the end of the residency. Its going to be fun taking these starting points into the newly revamped Portsmouth Printmakers Studio.

Final day - our work laid out in the studio. Photo credit - Jake Spicer

Follow Sue Jarman’s work

read about the Mawddach Residency

The Pull of the Print

May 2, 2022

Currently on show till the 21st May - The Pull of the Print. At the Linden hall Studio, Deal, Kent.

Seen unseen ii , phtotopolymer etching, collage and pencil. 2022

Im chuffed to have this work included in this group exhibition. This mixed media print reveals a personal obsession with marshes but more importantly an interest in wetland habitats and their environmental importance.

The group exhibition at Linden Hall features work by members of the Printmakers Council.

Beautifully curated It seeks to highlight the part that contemporary printmaking plays in the visual arts.

Opening Times : Tuesday - Saturday - 10am till 4pm

Linden Hall Studio, 32, St Georges Road, Deal, Kent, CT14 6BA

Work in progress and events coming up

February 20, 2022

As I type this, It’s Sunday and outside its blowing a hooley. Storm Eunice hit the south coast on Friday lunchtime but the aftermath has left some very dreary wet and windy weather. So, a good time to sit and type out some studio news.

Dusk at Farlington Marshes, January 2022

January can be summed up with - Discovering the Wonderful environment of Farlington Marshes which is just on our doorstep. In fact this small coastal Marsh, which is managed by the Hampshire and Isle of Wight Wildlife Trust is only a 10 minute drive over to the Eastern edges of Portsmouth. Farlington is ‘internationally important for the migratory wildfowl and wading birds’ and in winter is home to a ‘staggering number’ of migratory birds. We went there a few times in January and it will be fascinating to see how it changes through the seasons.

At home I was hooked on watching Winterwatch on the telly, and I loved their new’ Mindful moment ‘ feature- just wonderful. Even though the landscape trips have been a bit scattered and fewer than I would have liked they have inspired some new work that’s been evolving In the print studio and the home studio.

Using mainly photopolymer plates - some old and some new - I have been working on a series of prints that take my fascination with wetlands and marshes into some new interpretations.

As yet, I don’t have any great photos of work in progress so I shall only pop this one on here. They are all very much in the stage of making but I am pretty excited about how they are looking.

Bookmaking at the studio, Photo credit Lorna Tyrie

Another preoccupation is the ongoing bookmaking and I have been exploring some different approaches and ways to work with the wetlands imagery in the book format.

Coming up -

2022 is going to be a mixed picture as I have some different ventures and excursions in the diary.

In April I will be working with another company who will be filming at the studio. I am beyond excited about it. There will be more news about this when I am able to announce more. For now I have lots of planning and prep to get on with.

In May - I will be heading to Wales with a stash of paper and art media to undertake an art residency at the Mawddach Estuary. During the 2 weeks of this very immersive residency I will be working with another friend and artist who I met at Digswell Arts. We have been looking for a project to do together for some time and when we saw this opportunity it felt ideal and perfect for our work. We will be sharing a studio and also have the opportunity to work in a print studio on the ground floor of the house. Most of all having the beautiful welsh landscape right outside our window will be very fulfilling and ideal for the current threads of my work and ideas.

Also in May - My book work ‘10 inches to 1 mile’ will be on show at The Turn The Page Artists Book Fair.

In September I will be heading to Ballarat in Australia and working with the team who deliver Fibre Arts Australia. I am delighted that finally it does all look promising and hopeful that these wonderful ‘live’ events will get the green light. It’s great news to hear that my workshops are fully booked.

Studio news

November 16, 2021

A round up, and a look back, at early Autumn and events coming up;

Its been a funny old few weeks. Trying to keep some sort of momentum going in the studio and work in progress amidst other distractions has proved challenging. The distractions have been fruitful though. Several trips to London (at last !!) to see shows, meet friends. Also, a series of workshops and a chance to meet and work with other local artists. On a few occasions, some location visits with my camera.

At Omega Print Studio, Monoprint and Drypoint day.

With just one more workshop to go in December before we say a farewell to 2021, its been an enjoyable remergence into running adult workshops. I like to mix it up a bit so i’ve delivered a Collagraph day, a day focusing on combining Drypoint with Mono print and a Bookmaking day. In Spring 2022 I have 2 Bookmaking days in the diary and am planning a few more. The published dates are on my Workshops page.

The few occasions i’ve managed to get to the shoreline with my camera have been bliss. Myself and Helen Terry have a new project under way and we have both been endeavouring to collect source inspiration. On other (cloudier) days i’ve also been doing some reading - although i’ve found that since the pandemic started my patience and ability to pour through a book has been much more flighty.

Looking towards Portsmouth Harbour from Portchester. Oct 21

Perhaps that is why making Artist books has me hooked. There is something so satisfying and calming about the stages, the absorption in the process. I’ve just finished a new book piece called 10 Inches to 1 mile. its about the fragile, transient shoreline around Portsmouth Harbour. Learning that parts of this area were under threat from urban expansion piqued my curiosity. I wanted to see this wetlands environment, and the development plans, for myself. This book piece is a kind of love letter to the natural environment around Tipner and pays homage to the super powers Wetland landscapes possess amidst the context of rising sea levels.

10 Inches to 1 Mile, detail, mixed media bookwork, 2021.

10 Inches to 1 Mile, front cover. Mixed media Book.

A few hours at Omega Print Studios.

September 15, 2021

I was recently sent a bunch of photos by newly graduated photographer Lorna Tyrie - yep, also my daughter !! The images in this post, courtesy of Lorna, record me working at Omega Print studios on some new Photopolymer prints.

Lorna graduated from the Bournemouth BA Hons Photography course in July and is currently taking part in ‘Opus Collective’ an exhibition at Pen Gallery in Poole, Dorset. She is exhibiting a stunning group of Cyanotype prints on glass. :)

Acetate drawings on the light box - used as part of the photopolymer etching process. photo credit; Lorna Tyrie. — Acetate drawings on the light box - used as part of the photopolymer etching process.
photo credit; Lorna Tyrie.

Creating photopolymer etchings is a rather long process, but I find it to be a very rewarding one with lots of possibilities. Most of all, this process allows me to work with my photographic work. I print imagery onto acetate and then spend time adding and taking away parts of the image. Layering acetates together also creates new altered versions and reinterpretations.

Acetate drawings on the light box at Omega Print Studio. Photo credit - Lorna Tyrie

When i’m happy with the acetate, I expose the image onto a light sensitive photopolymer plate and then once the plate is washed and ‘cured’ it’s ready for the creation of prints.

Silent cover ii , photopolymer etching on Somerset satin. edition of 10.

One of my outcomes from this process is titled Silent Cover ii . It is printed using deep grey green and I have made an edition of 10 from this plate. I’m thrilled that 5 of these are being sold as part of the Art Uk Print Sale, coordinated by The Auction Collective. It is listed online and sits alongside an amazing group of artists. The money raised will help Art uk grow its schools learning resources adding more artworks to its platform and tell the stories about underrepresented artists.

New handmade books

August 2, 2021

One of my obsessive occupations during lockdown has been learning about book making. This journey started a few years ago when I attended a short course run by the London Centre of Book Arts at the Barbican Gallery. I’ve been following a number of courses this year, which have mostly been online. Its been pretty intriguing learning about different binding methods. Lots of my recent work are glued books but I also love making stitched books. I hope to exhibit a group of book works later in the year. A small selection can also be found on my online shop.

Recommended suppliers;

London centre for Book Arts / Shepherds London / Ratchfords

Of other spaces, hand made book with archival digital photography, 2021

Pictures from Studio 64

July 17, 2021

If you type in Studio 64 into google you might come across a music recording studio based in France. Or google might show you the famous Studio 54 nightclub which was based in New York. I quite like the nod and a wink the name pays to one of my favourite Tv shows; actually called Studio 60 on the Sunset Strip. The new studio, sited at the bottom of my small garden, mostly references where I now live.

It’s been an interesting adventure getting settled in and It was fun being involved in the studio design and various decisions about fixtures and features. The light has proved ideal for taking photos of the work and I also love the peace and quiet. A big plus is that the commute to work is now a lot cheaper (on petrol). I’ve also noticed that the light and influences around me are creeping into the newer work. For instance colour and structure.

The following photos were all taken inside the space and some of this work is ongoing.