EP X 45 + The Cochno Stone
EPx45
EP stands for Eduardo Paolozzi and 45 refers to the number of images I’ve used in this print. EPx45 was designed digitally and printed as an archival digital print at Glasgow Print Studio.
I’ve greatly enjoyed looking at and researching Paolozzi’s work afresh for this print and this process has reminded me again of his enormous ambition and achievement.
I’ve known his work since I studied art at high school, but until this recent reassessment I probably still wasn’t fully aware of his remarkable contribution.
The images I’ve used refer to a broad range of Paolozzi’s work – drawing, collage, print, mosaic, sculpture and textile design, and the way that I’ve constructed the print hopefully conveys something of the excitement, energy and wide ranging nature of his output.
The composition of EPx45, which divides and reassembles the selected 45 images is similar to the approach I’ve used in a series of work that I’m currently engaged with – Redivider.
Redivider is one of the longest single English language palindromes in common usage and describes something that divides or apportions again. This ongoing series considers ways in which images, words, space and time might be divided, redivided and reassembled.
The Cochno Stone
The Cochno Stone, dating back to 3000BC is one of the best examples of Neolithic or Bronze Age cup and ring panels in Europe and was fully excavated in September 2016 for the first time since it was buried in 1965 to protect it from vandalism. The stone measures 8m x 13m. Renowned archaeologist Ludovic Maclellan Mann, with a team of experts, decided that the best way to preserve it was to cover it over to protect it from further damage and it has lain there hidden until recently. Kenny Brophy, an archaeologist from Glasgow University, recently co-ordinated a project to uncover the stone again and to gather 3D data at the highest possible resolution of the surface of the Neolithic panel. Once this process was concluded the panel was buried again. Ultimately, Factum Foundation hopes to produce a 1:1 facsimile of the panel using a combination of the recorded digital data and historical sources.
This print combines images from it's past and recent history.
EP stands for Eduardo Paolozzi and 45 refers to the number of images I’ve used in this print. EPx45 was designed digitally and printed as an archival digital print at Glasgow Print Studio.
I’ve greatly enjoyed looking at and researching Paolozzi’s work afresh for this print and this process has reminded me again of his enormous ambition and achievement.
I’ve known his work since I studied art at high school, but until this recent reassessment I probably still wasn’t fully aware of his remarkable contribution.
The images I’ve used refer to a broad range of Paolozzi’s work – drawing, collage, print, mosaic, sculpture and textile design, and the way that I’ve constructed the print hopefully conveys something of the excitement, energy and wide ranging nature of his output.
The composition of EPx45, which divides and reassembles the selected 45 images is similar to the approach I’ve used in a series of work that I’m currently engaged with – Redivider.
Redivider is one of the longest single English language palindromes in common usage and describes something that divides or apportions again. This ongoing series considers ways in which images, words, space and time might be divided, redivided and reassembled.
The Cochno Stone
The Cochno Stone, dating back to 3000BC is one of the best examples of Neolithic or Bronze Age cup and ring panels in Europe and was fully excavated in September 2016 for the first time since it was buried in 1965 to protect it from vandalism. The stone measures 8m x 13m. Renowned archaeologist Ludovic Maclellan Mann, with a team of experts, decided that the best way to preserve it was to cover it over to protect it from further damage and it has lain there hidden until recently. Kenny Brophy, an archaeologist from Glasgow University, recently co-ordinated a project to uncover the stone again and to gather 3D data at the highest possible resolution of the surface of the Neolithic panel. Once this process was concluded the panel was buried again. Ultimately, Factum Foundation hopes to produce a 1:1 facsimile of the panel using a combination of the recorded digital data and historical sources.
This print combines images from it's past and recent history.
