Jigsaw Woodcut Prints with Jane Stobart RE and Mustafa Sidki – Weekend 23/24 May
May 23 @ 10:00 - 16:00 BST£150
The theme for this weekend printmaking course is inspired by Edvard Munch’s pioneering ‘jigsaw’ method, where a single woodcut is sawn into separate pieces, inked individually then reassembled before printing as a single image. Ideas for the imagery could be developed from the themes of ‘love’ or ‘angst’ inspired by the title of the British Museum’s 2019 Munch exhibition.
Artists Jane Stobart and Mustafa Sidki have taught many classes together at Ochre Print Studio in recent years and their combined experience as printmakers and tutors offers those attending the opportunity of spending two days of high octane printmaking in the studio.
Dates: Weekend 23/24 May
Times: 10am to 4pm
Cost: £150 / Members £140
Jane Stobart RE is an award winning Artist, Printmaker and Author working in relief and intaglio processes, which include etching, carborundum and woodcut prints. Her work is part of many high-profile collections including The British Museum and the Smithsonian Institute.
Mustafa Sidki is a well established artist, printmaker and tutor. He uses relief printmaking with monoprint, wooden type and linocuts to create unique prints. He also explores 3-D forms that incorporate construction with traditional printmaking methods. Everything he creates starts life, or has been recorded, in a sketchbook. These sketchbooks are on going, forming a rich document of thoughts and ideas, both technical and conceptual.
Munch took no instruction in any form of printmaking, but watched and learned from the technicians themselves. It was new for him to work in dialogue with someone else. He also experimented alone, however. For example, he made a number of woodcuts for which he chopped up the block with a fretsaw, inked each segment separately, and then fitted them back together like a jigsaw puzzle. In this way, he avoided any overlay of ink, and, in prints such as Moonlight I (1896) and Two Human Beings. The Lonely Ones (1899), the white lines separating the figures from their ground – as well as from each other – serve to intensify the sense of isolation.