Themes and Ideas
I have been concerned for a number of years with issues around conflict and society. The effects of warfare and ideology on populations, individuals, ethnic and religious groups are far reaching but apparently soon forgotten. My intention is to reflect not fighting or the fighter, the activist or the authority but the ordinary public attempting to live their daily lives; members of populations who are subject to and affected by the actions of governments and their forces. It is about recognising and recording the events which change and/or destroy the lives of ordinary people. It is also about the fact that although times are considered to be becoming more civilised, more sophisticated, for those ordinary people nothing has changed.
Creative Process
My starting points are based on still or moving photographic imagery. It is about a response to an image or images as seen, for example, in a tv news report or newspaper visual. Images selected, often peripheral to the central subject, are revised, adapted and evaluated for translation into a workable state for reproduction. Simplification and intensification are important considerations at this stage. My means of making prints is wood engraving. This has limitations regarding the practicalities of the coming together of wood and tool (burin) and the abilities of my skills as the cutter. The surface of an appropriately sized block is prepared. A light coat of contrasting watercolour paint is applied to make the line when cut clear against the paleness of the wood. Once the image is drawn onto the surface it is cut mainly in accordance with my original drawing but also with adaptations when the feel of the cutting suggests developments. When cutting is complete the block is inked and a proof taken. I use the simple approach of inking the block, laying a sheet of (Japanese) paper over it and rubbing with a wooden spoon to transfer the image to paper. The proof will indicate any corrections that are needed or, indeed, whether the image is viable. Finally an edition is made.
Influences
Among a wider range of influences the following are of particular interest to me regarding my work: Francisco Goya, Honore Daumier, Walter Sickert, William Nicholson, Edward Wadsworth.
Style
Initially my style tended towards precision and organised cutting technique. It was very much about controlled use of descriptive hatching which was as much about pattern making as tonal development. I began to feel that this approach was making my work sterile and flat. Subsequently I have been working in a looser way which I find eases my approach to making the cuts and allows for more relaxed forms. I have also made work which is intended to stand rather than hang - concertina work, unmounted prints contained in tailored boxes, prints glued to board to lie flat on a surface. Not practical for many exhibition places!
Tools, Materials, etc.
I use a small range of burins (wood engraving tools). The spitsticker is my main tool of choice. The name is reflective of the German wood cutters’ developments of the 15th century. Burins vary in cross section and cutting width from fine, narrow blades to broad chisels. The wood I use is holly, collected from fallen branches in the woodland which surrounds where I live. The pieces I am using now have seasoned for several years. I use Japanese printmaking papers which range from 22gsm to 50gsm. Printing by hand makes heavier papers impractical. The ink is oil based and my usual colour is a dark brown as I find black too stark.
Website
robchapmanartistprintmaker.com
[The site has not been updated for some time. This will be undertaken in the near future.]
