Painting In Progress

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Finally I am finding my expression!

Its not what I though I am going to do here but the surrounding is so incredible, the landscape so dominant, the sky’s are dramatic, the details are full with beauty and everything comes and goes with the ever changing tide.

Mountains covered in misty clouds, rocks like floating in water or sitting in golden sand, small islands swimming in the sea and lakes; circles, reflection, sunshine, raindrops, glistening leaves, sea wheat, jellyfish, washed up riverbanks and glittering beaches.

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It feels like it wants to come out all at once!

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By Nickova Behling

The Common Jellyfish

I am getting obsessed with the common jellyfish, I am finding here washed up at the beaches.

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It’s the Chrysaora hysoscella, also known as the compass jellyfish. It is in fact (reading Wikipedia) a very common species of jellyfish that lives in coastal waters of the Atlantic and Mediterranean.

The Chrysaora can be as big as 30cm in diameter. Its 24 tentacles are arranged in eight groups of three. It usually has 16 markings on the bell resembling extended v’s, surrounding a central brown spot.

There is actually a mouth located at the bottom centre of the bell, between 4 larger tentacles. I believe they catch their prey (I don’t know what they feed on?) with the sting of their tentacles. These ones have apparently only a light sting (I have not experienced it).

The tentacles are often underneath the belly when washed up at the beach or gone already, but the 16 doted markings and the drawn out v-lines from each spot are visible. A very beautiful creature of course much more so when they’re swimming in the sea. Unfortunately I am not a diver, only saw them when on a small boats tour here at Clew Bay, Westport, County Mayo, Ireland.

I am taking the challenge of creating some small lino cuts of Chrysaora.

 

By Nickova Behling

“Better no spoon than no soup” – so a German Proverb say’s.

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Today, here in, for me foreign country of Ireland, I learned about the importance of a SPOON.

I took one of a total of six metal spoons away –into my studio – unpermitted.

I took one of the two smaller, thinner ones; believing it would be of less value and surely not being missed.

How did I not see the value of the spoon, it’s intrinsic worth and meanings?

Everyone knows they are the oldest eating tools. Spoons where not merely used for eating but became symbols of status, wealth and rituals. Some people are even borne with a silver spoon in their mouth. Or just remember the tradition of giving silver, ornamented christening spoons.

Not enough I also learned the spoon I took was a ‘dessert spoon’!

Now you can see where things went wrong. In Germany we do not have dessertspoons. We have soupspoons, larger dishing-up spoons and the small, so called ‘teaspoon’. In Germany you would usually use a teaspoon for dessert.

When I was told that one of the ‘larger spoons’ is missing, I shrugged my shoulders; I haven’t taken a dishing up spoon, I thought. “A dessertspoon”, was the demanding voice explaining their loss. I took a moment of contemplation before realising what I had done: I did not take one of the smaller, thinner, less valuable ‘soupspoons’- No! – What did I think! I took one of only two ‘dessertspoons’!

And then dear old auntie Mary came to visit.

 

Irish dessertspoon, Stainless Steel, front and back.

By Nickova Behling

Real Sunlight Exposure for Solarplate Etching

Today I did my first solar plate test printing using direct sunlight.

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Relief  test-print from solar plate developed in direct sunlight. Nickova Behling

Working in preparation of the Solarplate workshops, organised by the Blue Monkey Network at Devonshire Collective, Eastbourne, UK

The solar plate was covered with a simple natural leave and a paper template, developed without an aquatint screen, using direct sunlight for the exposure. Inked in relief and printed on Hahnemuehle printing paper.

 

By Nickova Behling

Nick Moss: Curatorial Ethics and Outsider Art — kdoutsiderart

In this post, writer Nick Moss reflects on the curatorial issues facing outsider art curators – and curators more widely. What follows are simply observations on issues arising from curation practices in relation to outsider art. They follow on from discussions with Kate Davey, further to my earlier reviews of the Ida Applebroog exhibition at […]

via Nick Moss: Curatorial Ethics and Outsider Art — kdoutsiderart

By Nickova Behling

A very inspiring workshop

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Collagraph Printmaking at Custom House Studios, Westport, Co. Mayo Ireland

I facilitated a small group in the technique of Collagraph printing. Tailored to individual experience and skills of four artist, the course was inspiring, very productive, creatively and sociable rewarding.

Here a few examples of how and what was created:

Creating the print-plate:

 

A print inked in combination of intaglio and relieve:

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By Livvie Daly

Intaglio inked prints:

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By Nuala Gorman

 

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By Linda Barrett

 

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By Sinead Wall

 

Collagraph plates printed with use of Chine-cole techniques (use of tissue paper or newsprint into the print):

Prints by Linda Barrett (Circle) and Nuala Gorman (Landscape)

 

Three plates were printed creating this print:

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By Livvie Daly

 

Combination of intaglio and relieve inked plate (Fish), printed with inked net material:

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By Sinead Wall

By Nickova Behling