2 minute read
PHILLIPPA EGERTON
PHILLIPPA EGERTON MA
CONTACT
phillippa.egerton@icloud.com phillippaegerton.co.uk PhilEgerton13 phillippaegerton Phillippa’s award-winning work comprises linocut, woodcut and silkscreen printing, paintings and sculpted politicians’ cake heads. Her subject matter covers figurative and abstract themes, as she moves from one medium to another, building on each to create anew in the next.
She is fascinated with scripts so created drawings of imaginary writing that became the basis of her abstract work. Her work has been informed by political and global events; both in her Covid inspired linocut prints and her Climate Change series where she used the image of a single building in different climate scenarios. She did a history degree before becoming an artist and so is well aware that species and civilisations can emerge and disappear. This awareness has also played its part in her darkly humorous dystopian rag doll and harlequin print series, while cake heads of the great and good get sliced up and eaten. She has started working with other artists looking at Climate Change effects in particular localities.
Describe the setting of your studio My studio, is a ground floor double room that was once the family activity room - piano, snooker table - which has morphed over the years into my studio. It looks out onto the street and sometimes passers by wave at me as I work on the large plan chest in the bay window.
How does your studio inspire/influence your artwork?
I would not say that the studio is inspirational but it does contain a good deal of materials for printing and painting; inks, acrylics, oil paints, brushes, plasticine, tools of all kinds, screens for screen printing, paper from Japanese to cartridge to Waterford and Fabriano for which I have plan chest storage - film, acetate - and of course, sketch books, printouts, photos, all my source materials created and collected over the years. What the studio gives is a work area where I do a lot of preparation for screen printing; using True Grain or doing an image on the computer and saving it on a memory stick for printing onto film. It is a mixture of techniques for which I have the space.
Do you prefer working alone or with others? In the past, I worked in shared studios outside the home. I still go to Putney School of Art for the facilities that most screen printers share, the large exposure unit, photographic emulsion for coating screens and a cleaning area as well as racks. I also enjoy being with other printmakers: seeing what they are doing and discussing our work. I have enjoyed making contact through the Artist residency with other artists in the area and am following that up.
