PETER GODWIN MOUNTAINS / CLOUDS | CARBORUNDUM PRINTS
‘YELLOW MOUNTAIN, LI RIVER | VERSION II’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/3, 246 X 366CM, $35,000
‘RED AND GREEN MOUNTAIN, LI RIVER’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/3, 246 X 244CM, $24,000
‘BUILDINGS AND BRIDGES | VERSION II’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/5, 122 X 250CM, $14,500
‘RED MOUNTAINS / WHITE CLOUDS | VERSION I’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/3, 246 X 366CM $35,000
‘RED MOUNTAiNS / BLUE CLOUD’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/8, 137 X 197CM, $12,500
‘ONE CLOUD, GREY HILLS/WHITE CLOUDS | VERSION III’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/4, 120 X 100CM, $7000
‘YELLOW MOUNTAIN, LI RIVER | VERSION IV’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/3, 246 X 366CM, $35,000
‘BLACK BOOK | VERSION II’ 2015, HAND PAINTED CARBORUNDUM RELIEF, ED 1/4, 100 X 100CM, $7000
ABOUT THE PRINTS In April and May of 2015, Peter Godwin travelled to Dorset in the UK to work with master printmaker Andrew Smith and his team at Andrews Print Works, a large scale studio specialising in printmaking for artists such as William Kentridge, Howard Hodgkin and Richard Long. During his month there Peter produced a large body of work that involved over 65 plates and 26 different images using the carborundum process. This method of working gave him a freedom of expression analogous to painting, as the paste is applied to metal plates with brushes, scrapers and other tools to mark-make in a painterly manner. The plates are left to harden, prior to print production. Plates were prepared prior to Peter’s arrival to predetermined sizes, and Peter set to work instinctively, painting plate after plate, discussing with Andrew the potential colour and intent as the plates became available to proof. By the end of Peter’s stay every plate had been initially proofed, often with different balances of colour within the chosen palette. Peter worked closely with Andrew to refine and set the parameters to resolve some of the final judgments about the imagery before departing home. By repeated and close communications, involving further discussions and tests involving colour nuances and in some instances complete changes in colour, a number of works were printed then resolved to BAT state for editioning. Â