Latest news from Anna’s Art Life:
March 2020 My last event before Lockdown was to take part in this exciting exhibition of artists from around the world - at Chelsea Town Hall - with old friend and fellow-student from University of East London, Rocio Bucheli.
Judith Cuba’s eclectic show of work from around the world including paintings by Rocio Bucheli, Martin Hewer as well as my new set of etchings, “Lights in Lloyd Park” from Waltham Forest, London Borough of Culture celebrations, 2019. This is the fourth outing for the four prints. They featured with work from all artists concerned in Judith’s beautiful catalogue:
For full details about the prints and cards, “Lights in Lloyd Park”, plus images of the full set, please go to: https://annabisset.co.uk/prints/
See below for Anna’s prints and paintings by Rocio Bucheli and Martin Brewer.
No.2 “Conic Solid”
Third outing for Anna’s new set of etchings with the E17 Designers Winter Market this week:
“Lights in Lloyd Park” by Anna Bisset BA Hons, MA Art in Architecture.
A set of 4 etchings responding to the laser show at the William Morris Gallery, Lloyd Park, part of the opening ceremony of Waltham Forest London Borough of Culture 2019.
The opening event for Waltham Forest London Borough of Culture at The William Morris Gallery in January 2019 was a laser show designed and produced by Marshmallow Laser Feast. This exciting show projected into the night sky inspired Anna to create and produce a series of prints showing something of the show and responding to the feeling of being there on that dark January evening.
She produced five images under the title “Lights in Lloyd Park” which were originally pen and ink drawings with watercolour washes and these were worked up into a series of four etchings.
1. “Axis”
2. “Conic Solid”
3. “Focal Point”
4. “Elliptical Orbit”
The 9.5 x 12cm plates were etched and an edition of 16 prints for each image was made at Inky Cuttlefish Studios in Walthamstow. The titles refer to the science and maths involved in the creation of the laser project and to the “out-of-this world” quality of the imagery produced by the designers.
Etching is a method of printing whereby a metal plate has an image drawn on the wax-covered surface. This is dipped in acid and the resulting intaglio image is filled with ink; the excess ink is wiped away, then the plate is put through the rollers with paper in place. Each plate can be etched numerous times to reach a finished image and prints are taken each time the plate is etched (artist’s proofs). The final version is used for the complete edition, in this case an edition of 16 from each plate. Artist’s proofs which are not part of the finished edition may be sold separately as evidence of the working process.
The print-making process gives the artist another way of developing imagery using repetition and in this way you have a record of the changes in the work over a number of prints. The final print is affected by all stages of the process, including the drawing, etching, proofing, inking, wiping and the final print, so the artist’s eye is called upon throughout.
Prices:
Prints: Unframed £45; Mounted: £55; Framed £110
Cards: £3 each; £5 for 2; £8 for 4
Please my Instagram account for more images.
September 2019 -
- Art Trail Wanstead and The Manor House Exhibition and
- 40 years of Pictorem Gallery in Walthamstow.
Please see my instagram account for more details.
June 2019 - Corsham and Wanstead Studio Artists - part of E17 Art Trail 2019.
An exhibition of art-work from ex-students of Bath Academy of Art, Corsham and members of Art Group Wanstead in Anna Bisset's tranquil garden studio. Painting, sculpture, photography, print-making. See E17 Art Trail Listings for further details.
Artists:
Anna Bisset, Richard Crooks, Emma Davies, Mark Mainwood,
Annarita Mazzilli,Chris Thomas, Paul Tucker
March 2019 - “We Grow into the Forest”
An exhibition at Mile End Art Pavilion, East London, curated by Judit Prieto Rovira on the theme of man’s relationship with the natural world.
My pieces were pen and ink drawings, shown below: the first, “The Maker’s Yard - Fire-pit”, was drawn in the yard outside a group of art workshops in East London where the outside space was as important to the occupants as the inside: the workshop buildings were surrounded by trees and shrubs that seemed integral to the semi-permanent structures. The yard in the middle was used for making and for exhibitions and there was a feeling of being part of the natural world.
In “Churchyard”, the man-made forms, the gravestones, are almost consumed by the earth and natural forms around them. Even something as robust as a gravestone gives in eventually to the forces of nature.
