Artist's Statement
Although I enjoy painting, from an early age I have always preferred to 'draw'.
The immediacy of a pencil line on a scrap of paper is so appealing, and unlike the painting process, I am attracted to the way you can instantly record or doodle away your thoughts and observations. This preliminary collection of ‘marks’ and lines can capture so much, and in my opinion can be equally as important as many completed works. This may be why I enjoy making etchings and engravings, because they are very much a ‘drawing’ based medium.
My working methods follow the familiar path of sketches made from life, accompanied by endless scrutiny and corrections until I am happy. I repeat this over and over before starting the 'plate making' process. I like to experiment and combine different Intaglio techniques, I also enjoy using various drawing media such as soft pencils, bamboo pens and brushes to try and achieve a particular look.
Original etchings are not photographic reproductions or computer generated images of existing paintings, and have long been a favourite method of expression for many artists. They involve the controlled erosion of a copper plate using acid to achieve a desired effect. The etched plate is then inked by hand and printed onto paper, using heavy pressure from a roller press. Because of this individual method of hand printing each separate image is slightly different from the previous, making each print original and unique. When the edition is complete the plate or plates are then cancelled or destroyed ensuring strict limitation. The 'plate making' process has many unpredictable stages of production. Right up to the last moment printmakers are always working with their 'fingers crossed', because we are never entirely confident as to how the plate will finally print! This can be very frustrating but also very rewarding especially when your efforts meet your expectations.
As with many artists, my interests and influences are wide and varied. Initially I was attracted to the landscapes of Oliviero Masi, after seeing his etchings in a London gallery. Gallery owner Lee Brews arranged for me to work for him in Milan. Preparing and printing Oliviero's plates in the day, then using his facilities for myself in the evening. Although I did not fully appreciate this at the time, working for an established printmaker was extremely fortuitous and inspirational.
During this time and continued good fortune, I met and briefly worked with artist Douglas Portway. A friend of Oliveiro's and Lee's, who came to Milan to make his prints. It was a precious time watching him draw directly on to the prepared copper plates, then handing them to me to etch and print. After only experiencing Oliviero's work, Douglas's unconventional approach was so refreshing. I was immediately attracted to his loose and expressive drawing style. During that short period he was very giving with his time offering help and suggestions. A lovely man with an extraordinary talent, I was very lucky to have met him.
I produced many landscape etchings during my time in Italy and when returning home to the UK. Eventually turning towards figurative subject matter and taking inspiration from Douglas Portway. Today I enjoy producing both landscape and figurative work, sometimes it can be the beauty of the composition, other times it is the simplicity of a few lines that can suggest so much.
Carl March.
The immediacy of a pencil line on a scrap of paper is so appealing, and unlike the painting process, I am attracted to the way you can instantly record or doodle away your thoughts and observations. This preliminary collection of ‘marks’ and lines can capture so much, and in my opinion can be equally as important as many completed works. This may be why I enjoy making etchings and engravings, because they are very much a ‘drawing’ based medium.
My working methods follow the familiar path of sketches made from life, accompanied by endless scrutiny and corrections until I am happy. I repeat this over and over before starting the 'plate making' process. I like to experiment and combine different Intaglio techniques, I also enjoy using various drawing media such as soft pencils, bamboo pens and brushes to try and achieve a particular look.
Original etchings are not photographic reproductions or computer generated images of existing paintings, and have long been a favourite method of expression for many artists. They involve the controlled erosion of a copper plate using acid to achieve a desired effect. The etched plate is then inked by hand and printed onto paper, using heavy pressure from a roller press. Because of this individual method of hand printing each separate image is slightly different from the previous, making each print original and unique. When the edition is complete the plate or plates are then cancelled or destroyed ensuring strict limitation. The 'plate making' process has many unpredictable stages of production. Right up to the last moment printmakers are always working with their 'fingers crossed', because we are never entirely confident as to how the plate will finally print! This can be very frustrating but also very rewarding especially when your efforts meet your expectations.
As with many artists, my interests and influences are wide and varied. Initially I was attracted to the landscapes of Oliviero Masi, after seeing his etchings in a London gallery. Gallery owner Lee Brews arranged for me to work for him in Milan. Preparing and printing Oliviero's plates in the day, then using his facilities for myself in the evening. Although I did not fully appreciate this at the time, working for an established printmaker was extremely fortuitous and inspirational.
During this time and continued good fortune, I met and briefly worked with artist Douglas Portway. A friend of Oliveiro's and Lee's, who came to Milan to make his prints. It was a precious time watching him draw directly on to the prepared copper plates, then handing them to me to etch and print. After only experiencing Oliviero's work, Douglas's unconventional approach was so refreshing. I was immediately attracted to his loose and expressive drawing style. During that short period he was very giving with his time offering help and suggestions. A lovely man with an extraordinary talent, I was very lucky to have met him.
I produced many landscape etchings during my time in Italy and when returning home to the UK. Eventually turning towards figurative subject matter and taking inspiration from Douglas Portway. Today I enjoy producing both landscape and figurative work, sometimes it can be the beauty of the composition, other times it is the simplicity of a few lines that can suggest so much.
Carl March.
