For about 25 years now, I’ve been researching the shape, style and function of graphic signs connected with the production and reproduction of printed money. The research grew out of my visual arts practice and despite being consolidated as a university doctorate, it has mostly been pursued outside or across established academic disciplines, never having found easy accommodation in any one of them. Among other things this has resulted in a hybrid terminology defining its aims and scope. What began as an etymology of monetary signification (an early attempt to tie it to the field of linguistics and semiotics) now seems better expressed as a genealogy of certification, which represents a much broader field of investigation and reduces the risk of it being seen as a strictly numismatic study. The following paper summarises this genealogy and describes how monetary designs are adapted for different purposes and contexts, while showing some examples of their foundation in experimental and creative invention. I should firstly mention that the designs themselves communicate all kinds of meanings beyond the monetary: not just claims of authority and authenticity usually associated with banknotes, but also declarations of contractual certainty, social obligation, affection, prestige, satire, accreditation and so on. Even so, printed money remains at the heart of this research as an exemplary graphic statement articulated from within the nexus of mechanisation, global economics and modernist abstraction.
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This research seeks to explore the process of etching as a method for investigating shared experiences and collaboration between artists from different disciplines. The aim is to focus on the overlapping language that exists between mark-making and musical composition and to investigate how one informs the other. The research focuses on the creation of three scores, each created on a steel etching plate. Each score was sent to a musician for their sonic response. For this first series, I invited the saxophonist Patrick Shiroishi (US), the guitarist Sam Sherry (UK/NZ), and vocalist Adam Sherry (UK/NZ) to take part. My scores contain my interpretations of the environment, or journey, developed through the practice of soundwalking. The musicians enter into the project as collaborators, and the work is not complete without their sonic response. In this collaborative score project, I wanted to create a dialogue or ‘relationship’ between myself and other musicians by exchanging a score for a recorded response. I feel like this initial experiment was successful, and this approach has given me many ideas on how to develop this project for the future.
这项研究旨在探索蚀刻工艺，将其作为研究不同学科艺术家之间共享经验与合作的一种方法。其目的是关注标记制作与音乐创作之间存在的重叠语言，并研究两者如何相互启发。研究重点是创作三张乐谱，每张乐谱都是在钢制蚀刻板上创作的。每张乐谱都发给一位音乐家，请他们做出声音反应。在第一个系列中，我邀请了萨克斯演奏家 Patrick Shiroishi（美国）、吉他演奏家 Sam Sherry（英国/新西兰）和歌唱家 Adam Sherry（英国/新西兰）参与其中。我的乐谱包含我对环境或旅程的诠释，这些诠释是通过声音漫步实践形成的。音乐家们以合作者的身份参与到项目中，没有他们的声音回应，作品是不完整的。在这个合作乐谱项目中，我想通过用乐谱换取录音回应的方式，在我和其他音乐家之间建立一种对话或 "关系"。我觉得最初的尝试是成功的，这种方法为我今后如何发展这一项目提供了许多思路。
{"title":"Collaborative Visual Scores","authors":"Gemma Thompson","doi":"10.54632/1305.impj7","DOIUrl":"https://doi.org/10.54632/1305.impj7","url":null,"abstract":"\u0000 \u0000 \u0000This research seeks to explore the process of etching as a method for investigating shared experiences and collaboration between artists from different disciplines. The aim is to focus on the overlapping language that exists between mark-making and musical composition and to investigate how one informs the other. \u0000The research focuses on the creation of three scores, each created on a steel etching plate. Each score was sent to a musician for their sonic response. For this first series, I invited the saxophonist Patrick Shiroishi (US), the guitarist Sam Sherry (UK/NZ), and vocalist Adam Sherry (UK/NZ) to take part. My scores contain my interpretations of the environment, or journey, developed through the practice of soundwalking. The musicians enter into the project as collaborators, and the work is not complete without their sonic response. In this collaborative score project, I wanted to create a dialogue or ‘relationship’ between myself and other musicians by exchanging a score for a recorded response. I feel like this initial experiment was successful, and this approach has given me many ideas on how to develop this project for the future. \u0000 \u0000 \u0000","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"17 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140980656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The pandemic and the subsequent lockdown caused me to reflect on my practice and some key influences on my work. I have long been associated with the Estorick Collection of Modern Italian Art, particularly with their collection of works by Giorgio Morandi, a key influence on my work for over four decades. I curated the exhibition ‘Morandi’s Legacy: Influences on British Art’ for them in 2006, and over the years, I have contributed to several catalogue essays and gallery talks. As part of their plans to reopen in September 2021 after being closed due to COVID, I was invited to rehang their Morandi collection alongside the work that I had done in lockdown. I wholeheartedly embraced the opportunity to present my work alongside Morandi’s. Centred on the idea of still life, I wanted to explore similarities and differences between our works, most prominently to contrast the enforced restrictions imposed by lockdown with the self-imposed restrictions that Morandi had worked under. It also caused me to reflect on the nature of the studio as a place of self-reflection and play. The work I presented consisted of small plaster sculptures, woodcuts, and a series of four photo-etchings, all engaged with the idea of still life. The objects I featured included picture frames, bottles, miniature furniture, and asthma inhalers, a veiled reference to the fact that COVID attacks the lungs. Furthermore, and a radical departure for me, I included several poems I had written during lockdown. My illustrated talk will explore the ideas that underpinned the exhibition.
大流行病和随后的封锁使我开始反思自己的创作实践以及对我的创作产生的一些重要影响。我与埃斯托里克意大利现代艺术收藏馆（Estorick Collection of Modern Italian Art）的关系由来已久，尤其是他们收藏的乔治-莫兰迪（Giorgio Morandi）的作品。2006 年，我为他们策划了 "莫兰迪的遗产：对英国艺术的影响 "展览。莫兰迪美术馆因 COVID 而关闭，计划于 2021 年 9 月重新开张，作为计划的一部分，我应邀将莫兰迪的藏品与我在闭馆期间创作的作品一起重新展出。我全心全意地接受了将我的作品与莫兰迪的作品一同展出的机会。围绕静物的概念，我想探索我们作品之间的异同，其中最突出的是将禁闭带来的强制限制与莫兰迪创作时的自我限制进行对比。这也引起了我对工作室作为自我反思和游戏场所的性质的思考。我展出的作品包括小型石膏雕塑、木刻和四个摄影蚀刻系列，所有作品都涉及静物的概念。我展出的物品包括相框、瓶子、微型家具和哮喘吸入器，暗指 COVID 侵袭肺部的事实。此外，我还加入了几首我在封锁期间创作的诗歌，这对我来说是一个大胆的尝试。我的图文并茂的讲座将探讨展览的基本理念。
{"title":"Still Life","authors":"Paul Coldwell","doi":"10.54632/1305.impj14","DOIUrl":"https://doi.org/10.54632/1305.impj14","url":null,"abstract":"\u0000 \u0000 \u0000The pandemic and the subsequent lockdown caused me to reflect on my practice and some key influences on my work. I have long been associated with the Estorick Collection of Modern Italian Art, particularly with their collection of works by Giorgio Morandi, a key influence on my work for over four decades. I curated the exhibition ‘Morandi’s Legacy: Influences on British Art’ for them in 2006, and over the years, I have contributed to several catalogue essays and gallery talks. As part of their plans to reopen in September 2021 after being closed due to COVID, \u0000I was invited to rehang their Morandi collection alongside the work that I had done in lockdown. I wholeheartedly embraced the opportunity to present my work alongside Morandi’s. Centred on the idea of still life, I wanted to explore similarities and differences between our works, most prominently to contrast the enforced restrictions imposed by lockdown with the self-imposed restrictions that Morandi had worked under. It also caused me to reflect on the nature of the studio as a place of self-reflection and play. \u0000The work I presented consisted of small plaster sculptures, woodcuts, and a series of four photo-etchings, all engaged with the idea of still life. The objects I featured included picture frames, bottles, miniature furniture, and asthma inhalers, a veiled reference to the fact that COVID attacks the lungs. Furthermore, and a radical departure for me, I included several poems I had written during lockdown. My illustrated talk will explore the ideas that underpinned the exhibition. \u0000 \u0000 \u0000","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"21 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140982136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Science, thought and art meet within the limits of reality, in how reality is understood and represented.. This is where the art-techne binomial materialises graphics, which in turn facilitate the faithful or fictionalised reproduction of our environment. The vocation of science is to advance explanations of the world through a supposedly objective gaze, and the vocation of art is to broaden this understanding by evoking other sensitive and unexpected perspectives. Given the historical relationship between printmaking and the dissemination of knowledge in all fields and the natural sciences in particular, we would like to present the graphic derivations of a collaborative experience between a printmaking artist-cum-researcher and a researcher in forestry science. The experience: A multidimensional approach to the plant: An art and science project started at the end of 2021 when the author, Antía Iglesias, an art student from the interdisciplinary PhD programme in Creativity, Social Innovation and Sustainability (Universidade de Vigo, Spain) (Fig. 1) collaborated with another student, Marion Boisseaux, a PhD student in Tropical Ecology (Université de Guyane) during a research stay in French Guyana. The two students began a joint project to analyse and represent tropical tree seedling species (that Marion had selected in her DRYER project, which observed the effect of drought due to climate change) using their respective technical, numerical and graphical languages, and to provide multiple representations of the plants. This paper aims to present this common experience through the description and analysis of the process that was followed, from a botanical illustration to obtaining graphic digressions from these plants. We will now focus on the derivations obtained from the digital biomimetic record, laser engraving, and printing experimentation.
{"title":"Subjective Nature","authors":"Anne Heyvaert, Antía Iglesias Fernández","doi":"10.54632/1305.impj3","DOIUrl":"https://doi.org/10.54632/1305.impj3","url":null,"abstract":"Science, thought and art meet within the limits of reality, in how reality is understood and represented.. This is where the art-techne binomial materialises graphics, which in turn facilitate the faithful or fictionalised reproduction of our environment. The vocation of science is to advance explanations of the world through a supposedly objective gaze, and the vocation of art is to broaden this understanding by evoking other sensitive and unexpected perspectives. Given the historical relationship between printmaking and the dissemination of knowledge in all fields and the natural sciences in particular, we would like to present the graphic derivations of a collaborative experience between a printmaking artist-cum-researcher and a researcher in forestry science. \u0000The experience: A multidimensional approach to the plant: An art and science project started at the end of 2021 when the author, Antía Iglesias, an art student from the interdisciplinary PhD programme in Creativity, Social Innovation and Sustainability (Universidade de Vigo, Spain) (Fig. 1) collaborated with another student, Marion Boisseaux, a PhD student in Tropical Ecology (Université de Guyane) during a research stay in French Guyana. The two students began a joint project to analyse and represent tropical tree seedling species (that Marion had selected in her DRYER project, which observed the effect of drought due to climate change) using their respective technical, numerical and graphical languages, and to provide multiple representations of the plants. \u0000This paper aims to present this common experience through the description and analysis of the process that was followed, from a botanical illustration to obtaining graphic digressions from these plants. We will now focus on the derivations obtained from the digital biomimetic record, laser engraving, and printing experimentation.","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"16 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140979266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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