nicholas nicola etchings


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2019 ETCHINGS

  This page is a 'work in progress' - & probably remain so as the year slips into 2020 -  as presently working on  few series of etchings which hopefully will be completed later this year.  I am following the Cyclops/Cyclades theme to highlight a social justice theme with Cyclops representing barbarism and Cyclades representing civilisation. (As if often the case barbarism often attempts to trump civilisation).  Otherwise I am looking at cosmological/quantum themes through more abstracted works (initially somewhat inspired by the very grainy textures of Australian rocks as seen on bushwak and coastal walks). Otherwise I am also further examining notions of myth/mythology and creation through markings as such as star t trails and cross-over patterns to utilise or adopt the manner in which indigenous used markings to represent perceived realities whether it be in the physical world or spiritual realm and which can also be a psychological or lateral thinking revelation for the modern mind.  A long process is involved in developing various ideas but hopefully towards the end of 2019 I will be posting a series of etchings that I will be satisfied with based on the various themes mentioned. It is also a matter of breaking away from any formulaic pattern in the manner of one's approach to etching to strive to come up with something new but at the same time build on what has already been achieved; this 'creative paradox' is the dynamic one relies on to move ahead with one's printmaking as if to provide an 'argument' on how to view or review reality based on what has been achieved in the past and how to go onto to perceive it etc. At the moment am experimenting which involves  few unsatisfactory results along the way. One hopes the viewer/spectatorunderstands. All the best. 

   Thus there are only the following few images thus far: 


CHANCE

RESSURRECTION FALLEN TREE.

METAMORPHOSIS

WORLD'S END.  (Curramoors).

ABSOLUTE FORM

APPENDIX 

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'CHANCE.' (To Marcel Duchamp). sepia. 18cmX29cm. aquatint. drypoint. Printed up on Marcel Duchamp's birthday & finally posted. Inspired by #Duchamp involved dropping torn paper pieces floating down onto a zinc thing plate. (Think: 3 Standard Stoppages).


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PREVIOUS ARTICLE ON THIS WEBSITE OF MARCEL DUCHAMP:

https://nicholasnicolaetchings.synthasite.com/marcel-duchamp.php

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'Ressurection Fallen Tree'. Royal National Park. Sydney . B&W.15cm X 22cm. aquatint. sugarlift. copperplate. (Reworking of an etching plate from 2014). 

Although this tree has fallen I was struck by the many branches springing up to the sky.*

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 *This etching was first printed in 2013 but it has been reworked.

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'METAMORPHOSIS'.

B&W. aquatint. 24cm X 19cm with 4 zinc plates (interchangeable) Inspired by Jasper Johns 's Cicada yet with design initially emerging from lines seen in cicada wings. The notion of transformation is a theme in this print whereby there as an interchangeability between the positioning of the plates leading to an underlying change although the surface image which the eye sees maybe the same; there is unity in the combination of the images together. However, it can be said that each zinc plate can also exist in its own seperate right.

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'World's End.' ( Cliffs. Royal National Park. Sydney).  6" X 4". sepia. aquatint. zinc plate. (Use of laser toner drawing transfer on clear plastic transfer sheet). There is a impressionist effect which has the viewer having to adjust one's vision so as to clearly discern the image. It is envisaged to do a larger version or larger versions of other images using this laser toner transfer technique to see if it is preferable to be utilised on a larger scale as the image is not readily accessible on a small scale but on the other hand there is an effort by the artist to 'work the eye' so as to have it discern the shapes before it. 


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'ABSOLUTE FORM.'  B&W. 10cm X 14cm. aquatint. zinc plate.  The title Absolute Form is a reference to the Platonic Theory of Forms. While the rock is actually based on a Yass drawing in the New South Wales countryside. it must be admitted that this print perhaps is just a reference point for other etchings using this shape but include de to the notion that it has become the adopted 'absolute form' in order to artistically express other philosophical notions. See the Merryville-Yass-rocks-NSW-webpage.

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Source images. Photographs & Drawings.

(i). Royal National Park Resurrection Fallen Tree.  

(ii). Royal National Park cliffs. (Possibly the Curramoors).  

(iii). La Perouse Craters. (iv). Rock drawing. Yass. NSW.

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APPENDIX 

 The following five or six images will probably end up on different webpages and Matrix and Void express initial ideas that maybe revised in different ways. As it is Void is to become the basis of the Creation Cycle in 2020. However, the images are here for now for public display. 

 One is always exploring different creative avenues which are either abandoned or further looked at and thus is perhaps the following 'avenues' are revealed but which may not necessarily go any further or even be abandoned. 

 Not as much was done as one would like but a lot of time can be spent envisaging possibilities that may end up not being satisfactory but may also lead to other otherwise unpredictable satisfying results but in any case risks must always be taken so as to not become formulaic which only leads to being the 'living dead' both creatively and intellectually.

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'THE BLASPHEMERS.'  (After William Blake). 
'The Blasphemers.'  (Composition based on William Blake's The Blasphemer).  Sepia. 10" X 8". aquatint. zinc plate

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'CRATERS.' (Cosmos fragment. Number i). 13cm X 13 cm. sepia. aquatint. zinc plate. 

'CRATERS.' (Cosmos fragment. Number ii). 11cm X 11cm. . sepia. aquatint. zinc plate. 

Both prints are based on a drawing of rock craters @ La Perouse. Sydney. The drawing is underneath the prints. The craters themselves reminded one of galaxies within a backdrop of an eroding universe.

 

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Joseph Bueys the German environmental artist on a tree bombing raid over Sydney apartments.' B&W. 18cm X29cm. aquatint. drypoint. zinc plate.

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For some general introductory information on Joseph Bueys see: 

https://en.wikipedia.org/wiki/Joseph_Beuys…


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'MATRIX.'  (Tyranny). B&W. 18cmX29cm. aquatint. drypoint.zinc plate.


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The Creation of the World series. (A work in progress).

What is intended to be presented is a series etchings using the same six copperplates organised in different ways and using both B&W and sepia colours in different combinations to help create a visual cycle starting with the void before creation and ending with the day of rest (Sunday).  

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'VOID.'
B&W. 29.5cm X 9cm. drypoint. aquatint. Six copperplates.


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