BENDING MORE LINES - ONCE AGAIN XXVII [Till They Crack]

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by sumi perera RE SGFA FSDC

MONOPRINT, OPEN-BITE ACID-ETCHING, AQUATINT, STITCH, THERMOCHROMIC INK (COLOUR FLUCTUATE S WITH HEAT/TOUCH, COLLAGE, EMBOSSING & DEBOSSING

h: 60 w: 60 d: 3 (cms).

This ongoing series of hybrid printmaking techniques of cracks, drips and DIY repair by me (with no previous experience beforehand) depicts the effects of a leaking roof and ceiling within my home, my house. It was a process not only restoring structural damage to my lived in space, but the disrepair initially also took its toll on my physical and mental health, battling with a difficult breakdown of a marriage of 41 years, for more than a decade of separation ending in an acrimonious divorce in 2025. Throughout this period I gradually learnt skills of repair, how to ‘make do and mend’ to preserve integral structures to retain strength and safety. I began to appreciate imperfections and to see beauty within marks of wear and tear, and natural ageing processes. I saw the effects that the passage of time brings to surfaces without trying to white wash or plaster over cracks. This body of work became my therapy, an important tool while I learnt to survive and thrive through adversity.

£795

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THE CROSSES AND SCARS WE BEAR INSIDE THE GLASS BOX I

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by sumi perera RE SGFA FSDC

etching and aquatint (composite of 4 prints)

h: 70 w: 50 d: 1 (cms).

This print is a composite of 4 etchings and aquatints. The two middle panels were inspired by watching a documentary on Sir Norman Foster’s architectural practice. It depicts a view from within 30 St Mary Axe in London, more commonly known as “The Gherkin”. The image reflects on the heavy use of glass barriers in architectural designs and constructs, and the ensuing economic and environmental concerns. Within this print, the same plate is printed twice – rotated at 180 degrees to create a composite. The top & bottom panels were inspired by a photo I took in New Zealand of a fire escape, scaffolding and a church spire. The same process as mentioned above was used to create variable inking methods. The phallic reference of the ‘gherkin’ as it dominates the London skyline, combined with the ‘glass’ structure references the gender disparity between male and female as the latter strives to break through the glass barrier(ceiling). Sustainable practice of recycling old plates is a feature.

£695
£595 (Unframed.)

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