Unidentified (as yet) artefact no. 1
Since yesterday a second table seems to have been added to the room, allowing even more papers and other sorts of documents to be inspected. There is an A3 archive box open, with a large collection of examples of print editions inside (and, as I write, spread out across the table). Most of these editions were made to go alongside exhibitions, I think.1Almost exactly a year ago I made one such edition myself. One pair of prints (etchings) are apparently, as yet, unidentified.
The pair of prints are made from the same plate, clearly, but are printed with slightly different weights of black ink. In fact, in one of them, the white ground to the image is a little more yellow. The paper is approximately 20 x 20cm, and the square part of the paper embossed by the plate is approximate 15 x 15cm. The image is an indeterminate abstraction: a scythe-like white swoosh or tick shape, beneath which is a shaded arc that connects to either end of the scythe shape. The internal space demarcated by these shapes is divided into two rounded triangles, each of which are shaded like the background of the image. The shading is formed by horizontal, irregular lines.
At least, I think the lines are horizontal, and that the scythe shape is above the arc shape. But this description is dependant on the fact that I have decided that the image is that particular way up.
It is not clear what exhibition this print might have gone alongside, or indeed whose work it is. It is suspected, therefore, that these might be test images made by Nigel Oxley, who made many of the prints in the folder in collaboration with the artists (in many case after drawings supplied to him by the artist).
He will perhaps have to be consulted to see if this is true, or if he might remember who other than him might have produced the image.
The images remind me, in both their mark-making and in the ‘construction’ apparently depicted in the image, of the work of Peter Peri, or perhaps even more-so Peri’s grandfather, Laszlo Peri. I’m sure that this is simply coincidental though, a confluence of the kind of marks that seem to occur almost ‘naturally’ between the hand, copper and ink.