The Making of Kagiso Patrick Mautloa’s Urban Mask

Kagiso Patrick Mautloa’s woodcut project, Urban Mask, was begun in late 2016 and was completed over a year. The final work consists of 15 multi-layer woodcut prints, each drawn from the masks that Mautloa creates out of detritus he collects on the streets of Johannesburg, around his studio at the Bag Factory in Newtown. The colour selection for the woodcuts, differing from the mask sculptures, was inspired by Mautloa’s newer work in painting and drawing. Thus, the series creates links between his two- and three-dimensional work.

To create each print, an image of a mask was manipulated and deconstructed into layers to be reinterpreted into the relief medium. Each print layer was then traced onto a separate woodblock using pigment paper made in the studio. Each block was then carved by hand.

In the meantime, a team was assigned to create the substrates – a labour-intensive process involving pasting together layers of 100% cotton using wheat starch paste. Overall, more than 200 substrates were made in different sizes to accommodate the works’ printing, which includes proofing and editioning.

The blocks were then inked by hand using a brayer and printed onto the substrates. Each substrate was printed successively with the different layers making up each image, with a maximum of five layers per image.

There were many people involved in the making of this project:

Collaborating Printer – Zhané Warren
Printers – Benny Buckle and Janet Mbirimi, with assistance from Kate Arthur and Rupert Green
Over the months, the carving team included the Warren Editions staff, as well as interns Kerry Lee Chambers, Stella Hertantyo, Georgina Berens, Casey Driver, Michal Kruger, Geena Wilkinson, Samantha Matthews, Nora Kovacs, Kylie Wentzel & Inga Somdyala.

Below are some images showing the making of the work.
To view the prints and pricing, click here.

 

Kagiso Patrick Mautloa, Woodcut, Prints
Kagiso Patrick Mautloa and Benny Buckle. A selection of prints is laid out and waiting to be reviewed and signed off for editioning.

 

Kagiso Patrick Mautloa Woodcut Prints
A selection of prints hanging up in the project space.

 

Kagiso Patrick Mautloa, Woodcut, PrintsKagiso Patrick Mautloa, Woodcut, PrintsKagiso Patrick Mautloa, Woodcut, Prints Kagiso Patrick Mautloa, Woodcut, Prints
Benny Buckle and Janet Mbirimi are reviewing the colour of a proof that has just been printed.

 

Kagiso Patrick Mautloa Woodcut Prints
Benny ironing substrates, getting them ready for laminating with wheat starch paste.

 

Kagiso Patrick Mautloa Woodcut Prints
A selection of proofs pinned up in the studio, plus a makeshift mask made by someone in the studio for a bit of fun out of a polycan and takeaway coffee cups.

 

Kagiso Patrick Mautloa, Urban Mask, Sculpture
An installation of the mask sculptures at 1:54 Contemporary African Art Fair in London. The Urban Mask prints are designed to be installed as a group, echoing the presentation of the sculptures.

       

Hugh Byrne: Flipside

Hugh Byrne monotype prints

Hugh Byrne monotype prints

ON VIEW:
5 August – 16 September 2017

 

OPENING RECEPTION:
Saturday 5 August, 11:30am

Warren Editions is delighted to present FLIPSIDE, a suite of monotype prints by Hugh Byrne, which draws on and investigates the visual language that he has developed in his painting and sculpture. The prints are published in collaboration with Ebony Curated will be presented alongside sculptural work. The exhibition runs concurrently with Tipping Point, a presentation of Hugh’s work at Ebony Curated in Loop Street. Please join us for the opening of the exhibition on Saturday 5 August at 11:30.

In his painting and sculpture practice, Hugh meticulously plans ahead. His controlled working method allows him to achieve the clean, crisp edges of his shapes and the deliberated palette unique to each work.

In studio, often the greatest challenge facing the artist is the relative lack of control presented by the printmaking medium. For Hugh’s project, certain things that were planned ahead: a series of Perspex shapes, that he garnered from his paintings, prepared in different sizes; a pre-mixed palette of colours. Also in this jurisdiction was the application of ink onto the shapes by hand; the paper size; setting the pressure of the press. However, at every point there are also many variables that resist practitioner control: for instance, the stretch of the paper when wet; the transformative effect of the pressure, which produces results that are unpredictable; the particular way in which colours will mingle to form new ones.

It is the nature of printmaking that chance plays a bigger role in the creation of the work than what Hugh is accustomed to in his studio. This required Hugh to adapt his working method – away from planning, and toward intuitive response; away from smooth and flat colour, and toward adopting texture and embracing translucence.

Hugh has described his practice as one of “keen observation and questioning…identifying a problem, solving it, letting that decision influence the next problem/solution, and so on. In this way, the artworks become tangible compilations of decisions, organised in one place.”

This process of allowing each decision to be guided by the results of the previous one was amplified and honed in the studio. As Hugh became more comfortable, he spent less time on exact registration and anticipating outcomes. More time was spent using various inking techniques to achieve texture, and arranging shapes directly on the press bed. The composed and elegant prints that have resulted from the collaboration are indicative of a loosening in Hugh’s approach – the flipside of his painting and sculpture practice.

 

Hugh Byrne monotype prints Hugh Byrne monotype prints Hugh Byrne monotype prints Hugh Byrne monotype prints