New Print

Whilst it might seem to some that this print goes against my self-imposed remit of “Contrasts and Anomalies”, the very fact that it is not obviously in keeping with my other work is actually a contrast! However, I would maintain that a black cat easily falls in with my other work, in that it is often the subject of other-worldly superstition and legend, much like the Green Man figure. The picture is of our own cat, appropriately named Salem, and she does look in a somewhat sombre mood. The registration isn’t perfect and I am intending to hand paint the eyes next week, but I’m pretty pleased with how it’s turned out. It is printed on 7×5″ cards and on a limited run of A4 Hoshi paper. They are for sale, please get in touch – through my Instagram page (@grooveware_art) is probably the easiest way, as I haven’t got around to setting up a shop yet. I will soon.

Green Woman

In an effort to redress the balance somewhat, I have carved and printed my version of a Green Woman, or Mother Nature. The idea is that the face is seen in a tree branch, surrounded by foliage. I have printed this image on white A6 cards and on brown, recycled paper. I am planning on reprinting the image but with a background texture, printed from a highly grained piece of wood.

Cutting Frenzy!

Due to circumstances often beyond my control, I have been almost frantically cutting lino blocks ready to print. However, having no printing equipment currently to hand, I can only visualise what the finished products will look like when I eventually, hopefully, get back into my studio full-time next week.

Sacred Oak

I’m sure I’m not alone in saying this, but if there is a positive to come out of this current pandemic, it is the fact that so many of us have reunited with nature and begun to see what we perhaps had lost sight of. Whilst I live in the (once) Industrial North of England, in the run-down town of Rotherham, I am very fortunate to live in a part of town that is surrounded by woodlands, meadows and even a very beautiful golf course. Our daily walks took us to places we weren’t even aware existed so close to us, particularly through woodlands we have since found to be ancient. There are areas covered with oak trees and it has become so obvious why the ancient people worshipped and revered the mighty oak, and why there are so many stories and legends involving tree spirits. Oak trees in particular, abound with faces and apparently human body-parts; wildly inspirational to me as an artist spending much of my time interpreting myths, legends and the struggle of the natural world to breathe within the modern, city environment.

Sheffield Spring Heeled Jack

There is a pretty-much nationwide Victorian legend about a character called ‘Spring Heeled Jack’, who would appear, often to courting couples, frighten them out of their wits, then leap away, often over walls and fences. He acquired his name because of his ability to leap so high with apparent ease. For many years now, I have been aware of a specifically Sheffield version of this legend, the character also being known as The Park Ghost; he would appear around the Park Hill area, particularly near the Cholera Monument which marks the site of a mass grave for victims of the Sheffield Cholera Epidemic in the 1800s.

Taking the face from an adaptation of a gargoyle, I created my own version of what Spring Heeled Jack might have looked like – the silhouette in the background being the aforementioned Cholera Monument.

Green Man Lamp

Having made the Giant Green Man out of discarded tin cans, I wanted to do something useful with it, rather than having it laying on a shelf somewhere. Here is the result; a rather nice table lamp. I would love to be able to say, “and it’s for sale”, but I’m told it’s too good and it’s not leaving our house – sorry!

One of Many Time Again

The time has come around again for the #oneofmanypostcard initiative. Here is my contribution – a limited edition of 20 postcard-sized prints that are free to anyone wishing to have one, on the understanding that the receiver makes a donation to a charity of their choice. The prints are actually an abstraction from a Green Man face, but I have been told they look like either courgettes or melons so take it as you will. If you would like one of the cards, please email your address to: grooveware.art@gmail.com and I’ll get one in the post asap.

Shouting Again

This was mainly completed as an exercise in lino multi-block registration, but I am pretty pleased with the outcome. The registration isn’t perfect on all of the prints, but I managed to pull off enough copies to make it worthwhile!

Lockdown Exhibition

Having no other place to exhibit my work during lockdown (apart from online, but that doesn’t really count) I have been displaying cards showing my Green Man design, on trees and gate-posts at various places, whilst out on our daily walks. Despite being in Rotherham, we’re very fortunate to live near fields and woodlands in Wickersley, Rotherham, so the environment is, I feel, fitting for these cards. Although there is the opportunity for feedback (I put my email address on the back) no-one has been in touch – I didn’t really think they would – but at least two of them have been taken, so they are being seen. I’ll never know whether they were taken by people wanting to own the card, or by kids trashing them but either way, they are being interacted with!

Cadman Bridge

Here is the completed print of Cadman Bridge, a bridge built in 1819 over the Sheffield and Tinsley Canal in Sheffield City centre, England. The bridge is on one of the streets or lanes in Sheffield bearing that name – my name. Research shows that my ancestors, the Cadmans, were mostly scissor or knife makers ie. some of the so-called ‘Little Mesters’ who populated the City many years ago, working in Sheffield steel. A couple of years ago, my band played at a wedding in the Millennium Galleries building in the City centre – it was only recently that I discovered the room we were playing in is called The Cadman Room!

The print is a reduction lino-cut, with four layers. I kept it in monochrome as I felt it better reflected the history and culture of the area – there are still small steel workshops there.