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by Glenn Bray
photos: Peter Anderson & Glenn Bray
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AWPR went on to record Nugyar for Gary Ramon's Prescription
label and perform alongside New York Jazz noise meisters
Borbetomagus (who guested on Sonic Youth's recent Murray
Street album) before breaking up after a clash of personalities.
Since then my musical side has become less active and I
now feel more drawn to writing and producing artwork than
making abstract guitar noise.
Q: Tell me about your current interest
in producing etchings.
This came about after visiting a huge show of visionary
artist and poet William Blake's work which was shown at
London's Tate Britain in 2000. Although I was familiar with
Blake's work this was the
first time I had really seen it all together and the overall
effect was both mind blowing and inspirational. Although
I had no desire to imitate Blake per se, it was the simplicity,
beauty and
workmanship in his etchings that I particularly admired
and longed to understand. I mentioned this to Jill afterwards
and she told me that an artist, Judith Downie, who used
to teach her at college was now giving private etching lessons
at her home in North London. An appointment was made and
I began to slowly learn the process of how to make an etching
plate.
The medium suited me down to the ground (no pun intended)
as, unlike painting, the results are almost immediate. I
also liked the fact that etching is a linear art form that
is mostly black and white. Producing prints through this
method is, for me, a step forward from producing comix on
a xerox machine. Firstly, the techniques
involved are more physical than simply sticking your drawing
into a machine. Secondly, the result is more aesthetically
pleasing to look at and hold.
Many of the etchings I do are drawn directly on to the plate
which is then dipped in acid, heated up, inked and finally
rolled in a huge metal press to produce a print. The paper
used is of archival quality and the print run is limited
to 25 copies, or sometimes even less.
Etching has released the bats in my belfry about becoming
a serious artist, allowing me a new way to express myself
and let the inner demons loose. The alchemical aspect of
using acid, fire and pressure during the etching process
is also important and very thrilling to me. These are not
just drawings, they are more like incantations that have
been welling up inside over the years. It is probably this
fact which makes me feel that these etchings, or "itchings"
as I prefer to call them" are amongst my most important
and
magickal works so far.
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