Featuring artists from the ‘PRINT’ exhibition at Highgate Contemporary Art
Original printmaking involves creating artworks by hand using time-honoured methods where each print is an original—distinct from mass-produced or digital reproductions. Below are the primary techniques, their tools, processes, and real examples from the exhibition.
Read More“When I started working with clay, I knew I wanted to work with colour and incorporate painting into the process. As I began learning more about various types of pottery, I discovered English slipware, which has a very distinct, almost expressionist style using liquid clay, and I wanted to try it”.
Read More“I start by thinking about my experiences and memories of being immersed in the landscape by watching videos or reviewing sketchbook studies and photos that I have taken. I do have an idea of what type of atmosphere I want to achieve but my paintings always throw up surprises and may suddenly change direction depending on my mood”.
Read MoreNature, gardens, architecture, trinkets, views, all sorts of things. But if I’m feeling uninspired it’s the work of other artists which never fails to get me going. A quick look through one of my books on Vuillard, WIlliam Nicholson or Bernard Dunstan to name a few and I can’t wait to get painting again.
Read More“It’s old fashioned but I really would like to arrive at some sort of beauty. Colours and pictorial composition seems a way of arriving at an aesthetic; subject matter for me is less important. So one would imagine that abstraction would be my means, but I have always thought that a link to representation is an addition that allows a viewer access and communality with the work”.
Read MoreI use oil paint for its rich colours and ability to be applied thick and thin, scrubbed off, dripped, smeared etc.. For printmaking I use Carborundum grit for its ability to produce deep rich, velvety coloured prints.
Read More“I don’t remember a time when I wasn’t into art! I always loved drawing and would sell little sketches to my friends at school for 10p. I suppose I started to take it much more seriously in my early 20s when I realised it could potentially be something I could do full time”.
Read MoreI mainly use ink and acrylic because I like the fact that they dry quickly. I’m interested in Japanese calligraphy and the idea of a mark being ‘charged’ and having a life of its own, and I like the way paper absorbs he ink and enables one to make all sorts of different types of marks. I also paint on paper because I like the fact that it can be trimmed or added to quickly and easily if one wants to change the dimensions of the painting. It also enables me to collage separate pieces of paper together.
Read More“My curiosity was perhaps what we now call research in academic circles. I remember one occasion, a lightbulb moment, most distinctly. I was probably around 13 years old and had been experimenting at home with ways of rendering a tree in full leaf in my basic poster paints on paper”.
Read MoreAmalfi is a particularly dramatic expression of Italy: towering views around dramatic bends, cliffs and masses of sea always there in the background, sometimes in the foreground when you are on the beach or on a boat; lemons, tomatoes and trees pushing your eyes into the blue and green of the seascapes; the striking Church of Positano with the dome that has a Middle Eastern influence with the green, yellow, white and black symmetric patterns.
Interview by Ruth Millington
Roberto Pagliarulo: An Amalfi Dream runs from 4th – 26th September, 2020 at Highgate Contemporary Art.
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