Imprints and Mark Making

Back in Feb 2023 I did some experiments, where I painted washes onto paper before printing them onto another. At the time, I was focussed primarily on a process led approach but as things have evolved, I'm applying these processes more within context.

"Paths and their markers have long worked on me like lures: drawing my sight up and on and over. The eye is enticed by a path, and the mind's eye also. The imagination cannot help pursue a line in the land - onwards in space, but also backwards in time to the histories of a route and its previous followers. As I walk paths I often wonder about their origins, the impulses that have led to their creation, the records they yield of customary journeys, and the secrets they keep of adventure, meetings and departures" Robert Macfarlane - The Old Ways

I've been reading a great book by Robert Macfarlane called The Old Ways. The above quote really consolidates a lot of what I'm looking at at the moment. To add to this, I'm really interested in the paths that we tread into the past, both physical and emotional, - both our own and those of others through history. Why do we tread these paths time and time again? How does it help up process our experiences or anchor us to the present?

I like the idea that as people we make marks in our landscapes over time and through history and how these marks are sometimes physical (paths, roads etc) but are sometimes more to do with an energy or something less tangible.

We tread ground and (seek grounding) in much of what we do. We carve and draw and record and send messages through what we leave behind.

As people we are full of the imprints of our own experience. They are stored in our bodies and in our brains, sometimes not unearthed or sometimes experienced more readily. What do we bury and how can we uncover it? I'm interested in these ideas as I'm aware of shifts that happen as I work and engage with memories.

I am questioning how I can explore this using paint.

I'm still pondering these ideas and have some things I want to try over the next phase of my work.

I had another go at making imprints using washes:

I added some more layers in a blue tone but immediately felt it was too much!

Too much ink used here - it was too heavy on one side. Next time I should use less and spread it round a bit more before making the print.

Also, the process isn't hugely effective on watercolour paper on account of the texture - and works better on cartridge paper (but this paper isn't brilliant for framing as it warps and crinkles quite a lot when wet.

I enjoy the process of working into the washes, moving the paint around with brushes and sponges - but sometimes the lack of direction can mean I mess things up a bit (or feel like I do!) and I end up discarding it.

Although these didn't work quite how I wanted them to (a bit too muddy) I got some clues in terms of how using these imprints can form the background to a painting, in a way that shows layers (like layers of time). I'll keep re visiting this to see how it develops.