Residencies

1st RE International Printmaking Residency – Yinchuan International Printmaking Centre, China

The Yinchuan International Print Centre is just a phenomenal studio, equipped with large state of the art equipment and incredibly spacious. The studio is only used by invited national and international printmakers to create prints. There is a strong focus on traditional woodcut print, but given the history of woodcut printmaking in China and the level of skill they have with this medium it is not surprising this process is thriving.

To mix things up, I decided to focus my time making monoprints. I would usually tackle a large etching, but I knew it would consume all my time and I wanted to keep an element of freedom in my work and the ability to keep drawings through my prints on a much large scale than I would in my own studio in the UK.  I spent the first week in the studio working on a series of small monoprints, and once I found my confidence in the new studio, I launched into the large prints. Drawings made in my sketchbook informed the prints.

In August Ruth Uglow and Sumi Perera were awarded the 1st RE International Printmaking Residency at the prestigious Yinchuan International Printmaking Centre, China. The print Centre is located in the recently developed River Origins Art Town, completed in 2015.  Combining Eastern traditions of harmony between man and nature with modern urban ideas of sustainable development, the River Origins Art Town brings together art, ecology, education and life. It has already had a substantial financial investment and has much more planned for the future. The town is home to MOCA (Museum of Contemporary Art) Yinchuan, designed by the Beijing based firm WWA (We Architects Anonymous), the International Art Village, Sculpture Park and Wetland Park. Situated in the Ningxia Plain, 30 mins drive from busy downtown Yinchuan, the majestic Helan Mountains form the backdrop and shelter from the deserts of Mongolia.

As soon as I entered the studio in the morning, I would ink the plate and get drawing, removing the ink with a rag, cloth on the end of a stick or cotton buds. The image would immerge while creating. It was often quite intense because there was always the risk the ink would dry before completion or I would not finish and print the plate before they closed the studio at 6pm.  Some days I was thrilled with the results, others I just had to put it down to experience and look at it as a day practicing my drawing skills.