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Traces on Wood by Aine Scannell

Studio Logs

Aine Scannell
Traces on Wood by Aine Scannell

I began this series of prints or rather a suite of prints in June 2006 approximately and they are still in development. For some reason or other I did not feel ready to 'document' my process online. Now I am ready.
They are a series which explore our relationships with ourselves and others through the 'trace monotype' process which I have always loved and I have combined these with wood as a metaphor for 'groundedness' as well as growth.


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Studio Logs

2007-01-27

I began this series of prints or rather a suite of prints in June 2006 approximately and they are still in development. For some reason or other I did not feel ready to 'document' my process online. Now I am ready.
They are a series which explore our relationships with ourselves and others through the 'trace monotype' process which I have always loved and I have combined these with wood as a metaphor for 'groundedness' as well as growth.

This work, Healing Chamber, is one made for my 'Traces on Wood' series. There are about 14 of them so far and I would like to be able to produce about 30 if i possibly can manage it. I sent three of these images to Antonio, who is co ordination the exhibition in Trapani and making his own artwork also when he has the time . I would think it is very difficult for him to find the time and the energy.

Sorry, I digress, getting back to the traces on wood series - they take a lot of time to develop even though they may appear 'simple'.
I have a huge amount of hybrid forms which I have developed and I am continually researching (nowadays it's mainly on the internet) and developing. I am forever seeking to expand this resource bank of my own hybrids, using the scanner, computer and Photoshop has helped me greatly . Previously I had to do a lot of work by using tracing paper and then sketching and then photocopying to make forms larger or smaller.

In this particular piece i.e., 'Healing Chamber' I have represented the forum of the psychiatric patient or subject and the therapist. As artists I feel that we are often our own therapist. We heal ourselves. Often we put our selves through it as well but we develop and grow consequently.

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2007-02-14

2007-02-14

It's sometime very hard to know where to begin. This is because I don't really know where it began or where I began. This black and white image of some refugee children on a train, formed part of my research for the theme 'refugee'. I was working on this for an exchange portfolio at LINK
I don't know if this studio log is able to facilitate links.

I have referred to this title in previous works, such as 'Silent Witness' where I ostensibly created an artwork that was an homage to the 'Coffin Ships'. This term used in Ireland, refers to the thousands who died in the course of fleeing the Famine, in Ireland in the 1830's. That work became a dedication to all refugees to people who are even at this moment risking their lives fleeing from North Vietnam to China where they will be open to further hardship but it will be freedom of sorts. These works are about separation, loss, fear of the unknown and disappointment.

Comments

2007-02-14

2007-02-14

This is an image that I used in an installation I made called 'House Angel'. That was in 2002.

That piece of work was motivated (very strongly) by the idea of those people who go about in their local neighborhood and everyone thinks that this is such a pleasant person and the thing is that, when they return to the place where they live they treat the other people in this 'home' like dirt.
They humiliate, physically hurt them, belittle them and make their lives a misery. They threaten to do worse still, if their behavior is revealed to people in the community. A lot of this kind of deviousness goes on behind closed doors. I won’t go into detail but suffice to say I speak from experience. I was particularly focusing on the lives of children when I made this piece and I suppose it’s an ongoing concern. I considered using this image for the refugee print work (which eventually became realized in the ‘Traces on Wood’ series ) but decided that I was looking for something else though I could not put my finger on it yet at that time.

Incidentally that image of the boys behind the wires is from refugees caught up in war torn, former Yugoslavia of the late 1990’s. I printed (dye based inks) the image digitally on ordinary plain white paper and accidentally dropped some water on it which gave a wash/stain affect that I then went on to use deliberately once I printed it out again.

Comments

2007-02-14

2007-02-14



I have always had a strong 'connection' to the symbol of the house or home. I love its universal relationship to our sense of self. I have used the motif in previous works again and again. For the themes ~I have working on in recent months i.e. 'refugee' and 'further' I was considering the idea of a home that was a fundamental and basic 'self construct' which is why I began to research the idea of what I call 'hill houses' or 'grass houses'. This particular photograph I took myself on a visit to Iceland in about 2000. I later did actually use a 'romanticized' version of this image in an installation called 'Virtual Truth'. It would take too long to talk about the ideas process behind that work but you can read more about it at
LINK

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2007-02-14

detail from a panel which forms part of the installation called 'Silent Apocalypse' intaglio print chine colle on black Somerset paper.
Is this disembodied head a response to a daily diet of shots being fired and people screaming or just a bad dream.

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Studio Logs