Dewiswch o’r blwch i gyfieithu. Bernard and Reyna will be working in the gallery as their studio space as usual during the winter, but the gallery is now in renovation mode. Most weekends a limited exhibition of work will be open to visitors. To view at other times, they are probably there if the lights are on, so please knock the door. Or otherwise ring 07767862382 to arrange for a viewing.
Thanks to all our friends and visitors for your support during an interesting and successful summer.
Live acoustic music with a folk bias every Monday evening from 6:30pm is now at the Royal in Barmouth for the winter.
Bernard and Reyna will be working in the gallery as their studio space during October and things will be moving around in preparation for further renovations of the building that will be taking place November to May, during which time the gallery will be closed to the public.
Bernard, Reyna and Aly have been emersing themselves in the issues around refugees over the last few months leading to the creation of new art works.
Bernard says “The idea is to create a wall combining the paintings. Ideally, in the appropriate setting, where the wall could be extended. The origins of this terrible conflict can be examined, and the consequences explored. On the other side of the barbed-wire wall will be the scrafeto wall.”
“It was originally designed to be a component in an exhibition concerning refugees. Visitors would be asked to leave an image, a comment, an object that will refer to this extraordinary human phenomena. We are thinking of building this as a winter space in the gallery, before it closes for the winter renovations.”
The left panel in the above image is still being painted by Aly Barnes. It is based on an extraordinary image of people gathering in Aleppo in a ruined street.
Please call in to see progress on this work. And if you have any options of places that these pieces can be displayed over the winter, please let Bernard know.
We were fortunate to have the pleasure of Jon George sharing his expertise and castprinting technique in the workshop at the gallery 24-28 September. All the places were taken up and everyone enjoyed themselves and worked hard.
This post has photos from the workshop. I’ve included at the end a list of all of the equipment and materials needed for this process. It isn’t a full explanation of the process, but just intended as a reminder for if we run the course again or any people who attended. And the photos are roughly in the order of the process except for the prints that I have included next to their glass painting or cast block for comparison purposes. Clicking on any image will enlarge it and allow you to scroll through the set as a slideshow.
Some of the items needed laid out at the start of day one
Jon explaining what the technique can produce in his own work
Demonstrating the first step of preparing gesso and painting on to glass
A hive of creative activity in the gallery
Glass painted with image by Bill Swan
Printed image by Bill Swann
Plaster cast blocks just after pouring
Washing off the plaster cast to remove clay and gesso
Inking up the roller
Laying on the paper
Rolling the paper on to the inked block
Peeling off the paper to reveal the image
Glass painted with gesso by Ann Hickebottom
Inked plaster block by Ann Hickebottom
Print by Ann Hickebottom
‘Baranyini’, hand-castprint 50×56 cm (20.5″x23″) copyright Jon George
For this printing process you need:
Ingredients for gesso – chalk and a water soluble binder
A small water bottle with suitable lid for allowing small drops of water
A piece of glass to paint your image on, bigger than the image you want to make
A smaller piece of glass or tile to mix the gesso on
Another piece of glass to roll out your ink on at the printing stage
4 pieces of wood the same thickness, bigger than the image you wish to make
Palette knife (knives) to mix your gesso
Paint brushes to paint your image with gesso
A handful of clay to seal the wood on to your glass as a frame to then pour plaster into
A bucket to mix the plaster in
2 cups – one to measure the dry plaster the other to measure water – preferrably with handles
A wet area for washing off plaster from any buckets and cups and washing the gesso of the plaster cast
White spirit or turps (to clean off the oil based ink)
Rollers for the ink and for pressing the paper on to the cast block
Lots of cloths and newspaper for cleaning up
Jon George is working on a book about his work, life and the castprinting process. We hope that he will be able to return to the gallery next year and run some more workshops on this technique and also painting with egg tempera. If you are interested in any of these things, please contact us (if you are not already on the mailing list for updates) or check back on this website regularly.
We have the exciting opportunity to learn from Jon George about his Castprinting technique in a workshop running over four afternoons (24th-28th September not including Sunday) at the gallery. The workshop will be along the lines of the workshops he runs regularly from his London studio.
The Castprinting Technique
Castprinting is a new block printing method, which Jon developed when wanting to ‘reinvent woodcut with brushes.’ In most relief printing methods the image is carved in the block. However, in the Castprint block it is derived from painting – not cutting.
The three basic stages of Castprinting are:
Making artwork on a plate of glass.
From the artwork a plaster block is cast.
Print impressions are then taken from the block.
In our case the timetable is 2-5pm each day, as follows:
Saturday 24th and Monday 26th Sept will be making the artwork on the plate of glass.
Tuesday 27th Sept artwork to plaster block.
Wednesday 28th Sept print impressions from the block.
Character of Castprinting
Castprinting is a successful form of printing. People of all kinds love its simplicity and find working with gesso as a painting medium appealing. While the final results in the print faithfully render the brushwork in surprising and unusual ways. Castprints share those qualities expected of block printing, such as solid deposits of ink and colour that one wants to touch.
It has a tonal quality
Due to a subtlety of relief depth in the Castprint block, a wide variety of ink deposit creates the equivalent of tonal variation in the final print. This is new to relief printing.
Mirror imaging is solved
A typical relief print produces a mirror image, as it has but two phases A-B. But the three phases of Castprint: painting, casting and printing make it an A-B-A process and so the print emerges right-handed.
It is a viable printing method
The hard plaster of the printing blocks, make them capable of producing any number of prints.
The workshop will be fun and can be experimental
Castprinting courses are always interesting and challenging and different groups have brought new approaches leading to innovations. An example of this was with some art students in Morocco who insisted on using toothbrushes to flick the gesso to get a textural half tone effect. Jon said it probably would not work – but it did and their work was lovely.
Workshop fees, materials and equipment.
The cost of the full course is £60 plus £5 for materials which will be provided. It would be best to try to come to all 4 sessions to have the chance to see and try out all steps in the process and produce your own art work with the technique. But if you are only able to come to one the cost is £15 for each plus materials used. Please wear appropriate clothing for getting messy.
Here is a video about the technique, of a workshop at Jon’s London studio. This workshop will be taking place at St John’s Hall Gallery Barmouth, which is a different set up.
An exhibition of paintings by Clyde Homes and Bernard Barnes inspired by the Meirionnydd landscape, and screenings of ‘Meirionnydd, a very special place’ by Greengage Films, will be open every day from 4th to 31st August, 11am to 4:30pm (except Mondays when the gallery is closed). The private view is on Saturday 6th August starting at 2pm.
A selection of the paintings by Bernard Barnes that are in the Fragments of Barmouth exhibition have been photographed at high resolution and are available as prints from a third party service, Redbubble.com. The prints are produced by this services and shipped to you direct with a percentage commission to the artist. Prints are available as posters, art prints (on high quality paper), framed art prints (with various frame options), canvases – all of which have various size options. The images are also available as greetings cards and postcards. The gallery is not responsible for any issues about the production or delivery.
Check the Redbubble site for definitive prices. All prices need to add delivery. There are also offers from time to time. At time of writing 20% off with code CREEPY20. An indication of the range of prices is given below:
Small (300mm x 400mm) £12.47 to Extra Large (600mm x 800mm) £37.92
Framed Art Prints
Small (square 203mm x 203mm; rectangle 203mm x 256mm) £64.07 to Large (square 407mm x 407mm; rectangle 407mm x 511mm) £108.89 Framed prints have a choice of 2 frame styles, 4 frame colours and 3 mount colours, which may affect prices.
Canvas Prints (unframed)
Small (square 203mm x 203mm rectangle 203mm x 256mm) £48.00 to Extra Large (square 508mm x508mm; rectangle 508mm x 639mm) £108.00
Small option only (rectangle 418mm x 525mm) £10.31 to (square 418mm x 418mm) £11.79
Fancy being a Puppet Master? We are experimenting with creating a Giant Puppet Dance Group, to perform, initially, at the Puppet Carnival on July 23rd. The aim is to create simple round dances that can be performed by these giants. Hard and hot work, but could be a lot of fun.
First meeting will be on Friday 15th July at 7.30pm in St John’s Hall Gallery, Barmouth