Eames Fine Art

26 PRINTSPage 1/3

In 26 Prints, we have paired 26 print makers with 26 writers from the writers organisation 26. There have been creative constraints. Each writer was randomly allocated a print, not knowing if they were going to get a print from a living print maker, or one of the great but departed artists. The most recent print was made in 2016, the oldest was by Dürer in 1508.
Once allocated, the writer was allowed to borrow the print for about a month, live with it, and then create a poetic response in precisely 62 words, no more no less. This number, a mirror image of 26, is known as a sestude, and its a cunning length. Its long enough to allow the development of an idea, but not long enough to turn into an essay. Writers who try it also discover that its never quite enough words. So choices are involved; editing is hard but essential.
From the (living) print makers perspective, the opportunity to see how a writer creatively responds to their work is irresistible. There are inevitable surprises. What did the writer see that was no part of their original intention? Its a chance to see their work not only through the eyes of viewers, or collectors, which of course is always valuable, but through the eyes of a dedicated creative response. For the writer, its a concentrated act of looking. David Hockney always talks about the joy, and the discipline, of looking. And when you are tasked with honouring the print by responding to it in words, you realise with a shock how casual your normal looking actually is. The obligation to inhabit the print, and to know it properly, takes you to a very different place in your relationship with it and teaches you how to look, and indeed how to look for words. A new respect opens up for art, especially for those writers who were paired with an artist or a print that either they knew nothing about or wouldnt have naturally chosen to collect.
Our hope for this exhibition is that the dialogue between the print and the sestude opens up a new way of responding to the prints. If the viewers experience of the art is deepened and enhanced by seeing the poems alongside, then well be more than satisfied.

Artworks

PRINTS</b> - Howard Hodgkin - Multiplication

Howard Hodgkin - Multiplication

2013

Screenprint

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PRINTS</b> - Albrecht Dürer - The Mocking of Christ

Albrecht Dürer - The Mocking of Christ

1508 - 1511

Woodcut

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PRINTS</b> - Joan Miró - Plate 25 from Càntic del Sol

Joan Miró - Plate 25 from Càntic del Sol

1975

Etching with aquatint

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PRINTS</b> - Paul Catherall - National Magenta

Paul Catherall - National Magenta

-

Linocut

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PRINTS</b> - Austin Cole - St Pauls and Shard August 2013

Austin Cole - St Pauls and Shard August 2013

2013

Etching with aquatint

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PRINTS</b> - Pentland Firth

Pentland Firth

1974

Etching with aquatint

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PRINTS</b> - Ross Loveday - Troubled Water

Ross Loveday - Troubled Water

2016

Drypoint and carborundum

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PRINTS</b> - Elisabeth Frink - Spinning Man VII

Elisabeth Frink - Spinning Man VII

1965

Lithograph

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PRINTS</b> - Sara Lee - Out One Early Morning

Sara Lee - Out One Early Morning

2016

Woodcut

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