Join me at The Hepworth Print Fair
Fri 2nd – Sun 4th March 2018, 10 – 5
Private view Thursday 1st March, 6 – 8pm
Gallery Walk, Wakefield, West Yorkshire, WF1 5AW
T: +44 (0)1924 247360
E: firstname.lastname@example.orgI’m really excited to have a stand at this year’s Hepworth Print Fair. I’ll be showing a selection of recent prints and artist books, along with a new range of greeting cards, available exclusively at the print fair, and afterwards through my Etsy shop. (Sneak Peak HERE). If you haven’t been before I highly recommend it, it’s a great atmosphere and an excellent place to buy original prints and gifts. Hope to see you there!
New Light Prize Exhibition at Huddersfield Art Gallery
Exhibition continues until 2 June 2018
Open Tuesday to Saturday 11am to 4pm
Princess Alexandra Walk, Huddersfield, HD1 2SU
Free EntryMy ‘Peak’ etching starts it’s tour around the UK with the New Light Prize Exhibition, first stop Huddersfield Art Gallery!
It is a chance to see some of the North’s finest artists in one of the North’s finest galleries. From the hyperreal to the purely abstract, from printmaking to sculpture, this high-profile open exhibition celebrates contemporary artists from all corners of the North of England, including the winner of the £10,000 Valeria Sykes Award.
All works will be for sale.
Click Here for Exhibition Catalogue
I’m really excited to be showing some new litho work in this group show at Tarpey Gallery in October. The common link is the lithography fellowship at Leicester Print Workshop, which was for me a transformative experience.
The work I’ll be showing is all based on time spent lurking around Canadian woodland – noticing, observing, reflecting, and being present.
There will be some fantastic work on show, highlighting the creative possibilities of lithography.
More info on Tarpey Gallery website: http://tarpeygallery.com/exhibition/a-study-in-stone/
I’m having a January sale! To celebrate the New Year you can get 25% off all items in my Etsy shop until 31st January. There are a few colourful collages, prints and artist books in there to brighten up your winter! Head over to my Etsy shop (https://www.etsy.com/uk/shop/kathryndesforges) and use the code HAPPYJANUARY25 at the checkout. Happy January all!
An exhibition of new drawings and lithographs by Kathryn Desforges
Saturday 7 June – Saturday 26 July
PREVIEW – Friday 6 June, 6 – 8pm – All welcome, FREE
ARTIST TALK – Thursday 10 July, 6 – 8pm – All welcome, FREE
Courses and workshops / artist talks / one-to-one tuition all available by arrangement
West Yorkshire Print Workshop
75A Huddersfield Road, Mirfield, West Yorkshire, WF14 8AT
Gallery open Mon – Fri 10.30am – 6pm / Saturday 10.30am – 3pm
Wow, it’s been a very busy few months! I’m really pleased to say that my exhibition ‘Momentary Permanence’ is now up in the gallery at West Yorkshire Print Workshop, and looking great! It runs until 26th July, info above.
The exhibition features drawings, lithographs, artist books and also some film footage.
I’m doing an artist talk tomorrow, Thursday 10th July, 6 – 8pm, to accompany the exhibition. Come and hear me ramble on about my journey over the past 18 months learning a new technique and how I’ve applied it to create the work in the exhibition. I will also touch on my approach to printmaking in general, the importance of the making process in my practice, my method of working and inspiration, and possibly more in between! All welcome.
There will also be a screening of ‘Kate Desforges – Stone Lithography’ – a beautiful short film by Leicester-based filmmaker Bill Newsinger which illustrates the lithography process.
Here are a few (most excellent) shots of the exhibition and set-up, taken by the talented Mr. Fabian Matthias Osborne. Thanks so much to everyone who helped out, I really couldn’t have done it without you. Now that I’ve got a bit more free time I really should get blogging again! So more posts soon 🙂
I’ve spent some time in the studio at Leicester Print Workshop recently, taking photographs for a basic step-by-step guide to stone lithography. While the photos were meant to be used as still images to illustrate the process, I realised they might look good put together as a little animation sequence – so here it is!
Well, it’s been a while since I’ve posted about progress on here. Months have been flying by as if they were days, and now it’s November and I’ve only got a couple of months left of my internship at LPW. My ideas have been gradually developing over the last few months, and I think now are finally beginning to form into new work.
This year, more than ever before, has reminded me how precious time and space is – both to think and to make. Some days I can spend a good few hours intermittently standing and staring at bits of work, thinking about composition, colour, intention, etc. Other days I can be intensely immersed in doing – printing, graining stones, drawing. Both of these sorts of days are essential. Too much thinking, especially with lithography, means that I can think an idea through to an end point, but when I try to replicate it, it can never materialise into what I want it to be. Too much time spent making, and there is never an opportunity to stop, look, and re-evaluate the work.
During the summer I was at a mid-point in the internship – having learnt the basics of the lithography process, It was now time to start thinking about how I could apply these techniques to my own work. I was a bit stuck with this. Everything I’d done so far was just to test out particular techniques or materials, but I wanted the work I made to have more substance to it than that.
At the end of July I spent a few days at the house where my Grandad used to live in Weymouth. It’s a place I used to visit ever since I was a kid, and have fond memories of. The house has remained in my family since my Grandad’s death, but this year it was looking like it was going to be sold. The house was lying empty during the summer, so I went down with a few friends for a few days to make use of it. During that time I realised that this was possibly the last time I would be in the house, and I decided to return a few days later by myself. I didn’t really know why or what for, but it I decided to just take some photographs and do some drawing while I was there. This became almost a process of documentation. The house had hardly changed over the years – it was exactly as I had remembered – all the same furniture as when my Grandad had lived there, even photos of him dotted around. But no bodies. No people. None of the originals. Only memories, all fuelled and prompted by inanimate objects, sitting there just as they had done for so many years. But it wasn’t sad, it actually filled me with a kind of peacefulness which I rarely experience. A sense of time passing, slowly but surely, but also a strange sense of permanence.
I also ended up taking some film footage, which has actually become the basis of the work I am currently making. At around 5 or 6 pm each evening, the sun would bounce off the water in the harbour outside, and come in through the window, creating a constantly moving image on various walls in the house. So I set my camera to record, and sat back and watched. Sometimes the sun went in, and the dancing lights disappeared, then they came back stronger, and then faded away again. Sometimes a boat would pass, agitating the water and making the light move faster and jump around. But the dancing light was always kept within the confines of the windows which it passed through – contained within shadows.
When I got back to work after the break, I was preoccupied by the film footage I’d taken of the dancing shadows, and decided I wanted to incorporate them into my work. So I started to project still images from the footage onto stones, and trace them using rubbing block – a lithographic drawing material which creates very soft, subtle marks and tones.
During the summer I had also been doing quite a lot of drawing, some of it very detailed, and some of it very scribbly and quick. It was whilst I was drawing one day, that I realised I had been contentedly scribbling away for over an hour. All I was doing was filling in a shape with HB pencil. But I loved it. The sense of peacefulness I experienced during this was not dissimilar to that which I’d experienced whilst watching shadows on the walls. A feeling of total immersion in the moment, in the present, the right now. I realised that these scribbles were the physical manifestations of that, and so was the film footage I’d taken. So it seemed right to try to tie these two elements somehow.
It’s all made me realise that time spent researching, practicing, experimenting, documenting, playing, thinking, exploring, is never wasted time.
Below are some image of the work I’ve been doing. I’ve got an exhibition starting on 8th January 2014 – ‘Momentary Permanence – Works in progress’, at the LCB Depot Print Room, so the next couple of months will be busy! Looking forward to it…
A couple of weekends ago I ran the first ever Photo Plate Lithography workshop at West Yorkshire Print Workshop. It was great! It was so lovely to be able to introduce a new technique to the workshop.
It took a good few days of preparation to get everything ready and set up – as always with printmaking the only way to really know whether something will work is just to practice. So I spent some time making some test plates on our exposure unit, eventually coming to the conclusion that a standard exposure time of around 5-6 minutes is sufficient for most images. The plates I ended up ordering for the workshop and to sell in the shop were called ‘Europlate’, and a very nice chap at the company advised me on what would be best for our purposes. I also bought in some developer, which we mix down half and half with water for standard plate developing.
In the workshop we already use the Hawthorn Printmakers stay-open inks for intaglio and relief printing. It says on their website that they are also suitable for lithography, so I thought I would try using this even though I’ve never used them for lithography before. They actually worked well, although they do contain very high amounts of pigment, so it is necessary to extend them quite a bit with their ‘transparent ink’, especially for very detailed images. We printed the plates on our Hunter-Penrose etching press – bumping the pressure up a bit by putting a larger litho plate on the press bed, (as the plates are quite thin), which worked a treat.
We had a full course, and I was really happy to see a lot of familiar faces – members who wanted to learn the technique or had done it years ago and wanted a refresher, and also a some non-members who were completely new to it.
The day was fantastic – so enjoyable to be passing on the skills I’ve been learning at Leicester Print Workshop over the past year! And everyone was so excited by the ideas and possibilities that the technique generated. We’ve already had one member come in and start making plates since the course, and we’ve already got bookings for the next course at WYPW in March next year, here: http://www.wypw.org/shop/photo-plate-lithography-march/
Here are a few photos from the day…