The Artist and Our products
Christopher first discovered Chinese brush-painting during an engineering assignment in Hong Kong some years ago. Re-discovering in 2022, some materials which came home as souvenirs, he decided to develop some of the skills. These were taken both from the established oriental traditions and more especially a contemporary abstract approach, influenced to some extent, by his engineering background together with the subsequent experience of the wide variety of paper applications for the creation of works of art, through his own papermaking business.
The screen prints on sale here, derive from Christopher's own studio, originally established in France but now installed here in Devon, where small editions of monoprints and halftone editions are still made, as well as commissions.
MATERIALS used for PAINTINGS
The Xuan paper, ink and paints.
Only the correct lightweight unsized, white or black papers, made from Mulberry and Sandalwood fibres which grow in the region of manufacture, are used. The sheets are usually of no more than 30-35gsm and owe their strength to the nature of the long fibres.
The black inks, for which the pigment is derived, are also made in a traditional manner in China, frequently from the charcoal residues of special woods, using methods developed well over some two thousand years.
The coloured pigments, including both gold and silver, are mostly derived from natural earth minerals, limited in colour range but blend well to achieve different tones and concentrations.
PAINTING METHOD
The above picture illustrates the painting methods mostly commonly used. The paper lies horizontal on a, usually woollen, woven felt with raised fibres on the surface. The paper is therefore supported in a minimal manner to avoid any bleeding of the ink or paint when applied to the paper. Two brass bars hold the paper in place to prevent movement during painting.
Paint brushes are specially shaped to be reservoirs of paint or ink and are charged in a specific way. A considerable range of animal fibres is used, selected according to the type of work to be carried out. Painting and writing is carried out with the brushes held vertically, pressed into contact with the paper and moved rapidly according the nature of the shape and extent of the image required. Once applied, the inks cannot be removed or washed across the sheet due to the fineness of the particles which are held in the surface of the paper, homogeneously with the fibre, in marked contrast to western watercolour techniques.
The final two operations are to mount the painting onto a sturdy backing where we use 300gm Somerset printmaking cotton paper and then to seal the surface where appropriate with a beeswax emulsion.
The nature of all these properties allows a whole range of exciting opportunities and disciplines for the creation of abstract as well as traditonal oriental style paintings.