why the chop

Posted on 18 August 2011 by sgolding

Louis Armstrong is always said to have been concerned about the state of his chops.  I sign my drawings and painting using a chop; a seal using red ink given to me by a kind translator ms Shanna Lin on a trip to Taiwan in 1998 to row in a university regatta.  Each of the crew recieved a personal chop. I have been using mine ever since – it features on the top right of the website.  It is a rebus or visual pun on my name combining the kanji for gold and the kanji for ding – the hammer of a gong.  I like the wit in it and feel it finishes a drawing more neatly than a mere scrawl across the page.

 

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a woodblock for colour printing requires

Posted on 14 August 2011 by sgolding

each colour impression to be on a flat block which matches each of the others, a few tries at it tells you this.  So when I painted this study, based on a Ukiyo e print by Utamaro, I reworked the form.

oil on shaped canvas 25 by 25 cm (approx)

The shaped canvas is almost sculptural and echoes the concept that there is more than one artist in a Ukiyo e print, the darwing maker, the block carver and the block inker.  Sadly I did not have a team and had to do it all myself…

to show its form

 

 

 

 

 

 

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A walk in the damp underbrush…

Posted on 12 August 2011 by sgolding

of a landscape.

Here is a watercolour i did of Wilson’s prom in 2006.  I worked this in terms of the use of negative spaces and the manipulation of liquid colour across the surface to gain a lovely hue and abstract quality of the painted surface.

pencil, watercolour and ink and wash 60 by 75 cm

It was from this that I moved on to a painting, oil on linen in the studio- here it is just finished on the easel in 2006.

 

 

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how now…

Posted on 8 August 2011 by sgolding
A friend persuaded me to make this cow, as she likes them.  I experimented with materials as the essence of this work is the use of  an outline of the cow, which is a cutout  as a layer  patterned paper, with a non linear pattern on the cow outline contrasting strongly with the rigid geometry of the japanese paper over the board.  Glue features in the composition!
Oil on canvas element, japanese paper on board
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