Close up image of gold leaf being applied to an orange section of the hand-printed infinity loop

Making a flowing Infinity Loop

by with No Comment Behind the ScenesNew Work

For the Flow exhibition at Brixton Library, I decided to create a new site-specific installation piece, linked to my series of Fragile Structures. I developed a small scale test infinity loop, or Mobius Strip, to explore the idea of an infinitely fragile looped work, with cut out sections, handprinted on both sides of fine Japanese paper. I wanted to take advantage of the interaction of both sides in the sunlight of the large bright gallery space in Brixton.

‘Infinitely Fragile’ by Carolyn Murphy, an installation view

Previous works in the series have been self-supporting sculptural pieces, such as Towers of Strength, laser cut monotype structures. With this work I wanted to return to the monotype process I used in my Fragile Structure series of 2D prints, but taking this to a different scale and form.

Towers of Strength, by Carolyn Murphy

This post gives some background and process images. And flags some of the challenges too.

I decided to make the work in two sections. Taking on board the idea of infinity, I chose to transition each side of the paper from blue to orange and match the patterns at the two joins. For ease of transport, I only joined the loop on site in Brixton. I used Japanese rice paste as this can be unstuck with water, allowing for de-installation.

Printing the Japanese paper

I learnt a lot in the making, including the following:

  • My small scale maquette was one eighth the width, which turned out to be 61 times smaller in area! Maths…
  • Japanese paper loves to crease – I decided to embrace this by adding gold leaf, that had been donated to me by a friend, referencing the Japanese art of ‘kintsugi’.
  • The monotype stencil process I used requires a degree of ‘going with the flow’, which seemed appropriate tothe them of the show. You are never 100% sure of the outcome, although you can move it in the direction you want.
  • Follow my instincts to do something different – and, as usual, far more complicated than I set out to create!
  • The many ways of displaying a fragile work, in a busy well-used space.

Overall, I was delighted with the outcome and will continue to develop works in this Fragile Structures series.

Adding gold leaf

20:20 Print Exchange

by with No Comment Behind the Scenes

Each year I take part in the 20:20 Print Exchange, organised by Hot Bed Press. I started in 2011 – and became hooked. This year I created a linocut with added blind embossing. Here’s a little bit of behind the scenes on my 2025 edition and my box.

Firstly, the 20:20 print exchange concept is simple: each printmaker creates an edition of 25 original prints, on paper that’s 20cm by 20cm. Printmakers submit work through their print workshop, and in exchange receive a randomly selected box of 20 prints from other participating printmakers. I love the sense of community, as around 50 UK and international print workshops take part. In fact, this year 744 artists took part from studios as far afield as Canada and the USA.

I tend to see my 20:20 print as an opportunity to experiment as well as extra practice at editioning.

The lino plate

This year, for the first time, I designed a linocut plate and an emboss plate to work together. It was experimental and I learnt a lot. Some things went well, others were more challenging, but that’s often the way when you try something new!

My idea was to create an abstracted ‘landscape’ and play with the sense of space and depth.
I kept the linocut simple and had sleek lines, and the plate and paper slightly bigger, so I could cut it down to 20 cm square. I chose Fabriano Unica paper, which I tested first, as I wanted a paper that would work fine dry with the lino layer and wet for the emboss.

Things that went well

I was happy with lots of elements:

  • the consistency of the lino layer
  • the gradation worked well too
  • I liked the ambiguity of the spaces
  • and the austerity of the design.

What did I learn?

Paper expands and contracts when wet – and does so differently depending on the direction of the grain. This caused a few issues with trimming down, but luckily didn’t spoil too many. I hadn’t spotted when cutting my paper that I did not have all the paper grain going the same way. I learnt that paper expands differently with and against the grain… I’ll know next time to check.

The outcome

I sent off an edition of 25 prints, which I called ‘Echoes’ in October. And I just received a fantastic box – including works from Germany and Russia. Take a look!

My 2025 box of fabulous prints!

img_0775

The huge Macmillan linocut is finished

by with No Comment Behind the Scenes

Carolyn Murphy’s A1 linocut commission for Macmillan is finally finished and drying. It will be delivered to them, framed, on Wednesday 21 March. The video below shows Carolyn printing the final colour at Hot Bed Press in icy conditions:

The snowy weather tried its hardest to interfere with the tight schedule, however it’s all on track.

Probably Prints published a blog about this exciting project.

All the ‘behind the scenes’ images, the story behind the commission and the development of the A1 linocut print and the prototype quarter-sized print are on Carolyn Murphy’s blog.

You can buy this work online via the website Shop.

Printing the Giant Linocut

by with No Comment Behind the Scenes

Carolyn Murphy is in the process of printing a giant A1 linocut commission for Macmillan. Currently at the half way stage, after 3 colours, there are spot colours to hand print, before it goes through the press twice more.

The scale of the linocut alone presents it’s own challenges. Take a look at the video to get a feel for the size!

The third colour transformed the print further today. Printed on the Polymetaal press at Hot Bed Press in Salford, it now looks a lot brighter.You can follow progress of this huge linocut print and learn more about the commission on Carolyn’s blog