This print is currently untitled as I have yet to think of a name of it. The print conveys a stagnant chromatic image portraying the eye of providence; this is a symbol depicting an eye enclosed within a mandala. The eye of providence refers to the protection of a person by one of omnipotent power. The word mandala in Sanskrit is circle. Mandala is a spiritual and ritual symbol in both Hinduism and Buddhism, representing the universe. The circular designs symbolise the idea that life is never ending and everything within the world is connected.
As I have mentioned throughout my previous posts, spirituality gives a person a sense of transcending their immediate circumstances and an interpersonal construction of purpose and meaning for their own life, with an inner sense of connection and confidence in their own internal resources. This allows for better adjustment by helping to fill the existential void that may arise after an event that is in itself senseless, as vision loss may be. It can provide a framework for interpreting the impairment in a positive light, giving it meaning, and making it easier to accept, as well as for re-ordering priorities and adapting more successfully. Spirituality blunts the negative effects of visual impairment and has a direct and positive effect on adjustment. The print signifies the intertwining patterns of life, narrating a story of mishap and resolution.
Relief methods of printing such as linoprinting are essential in regards to the basis of my project. Providing a tactile platform in which a visually impaired audience can navigate is of great importance, alongside exhibiting works which display vivid colour and bold, linear based illustrations, to be mounted and easily observed by those who have a visual ailment.
Prior to this project I had little experience in Lino printing and didn't especially enjoy the process as I found it tedious and hard to control. In the past I had gauged too much linoleum resulting in the plate to tear from excessive abrasions to the surface, as well as a confusion as to what I was printing and having to recall what sector I should refrain from carving and such. Fortunately I began designing my work over paper rather than straight over the linoleum, allowing room for error. Upon designing the print on paper, I then utilise the carbon print method in transferring my design to the linoleum. I have learnt that I should not mark areas of printing prior to the carbon application, due to chalk going all over the linoleum; instead I am to only transfer the line drawing over to the matrix. Luckily, chalk can be easily removed from linoleum so excess is not an issue. Once transferred I then mark up the areas that will be kept (black) and avoid the whites. Using smaller blades has worked tremendously in carving the linoleum as I have acquired a better sense of control both mentally and literally over the Lino. I find soft cut Lino, as the name implies to be easier to gauge into, but control is limited as the surface is more slippy and malleable. Though it requires warming, the harder Lino backed with hessian portrayed greater success as the hessian provides further assurance toward stability and mildly controls the malleable nature of the linoleum.
I experimented with a few other colours of paper in order to further develop the design, but I still favour the chromatic prints as I feel they are the most impactful. The yellow paper does work quite well with the print, but I find the chromatic prints to be especially bold and suitable for the design. Located below are a number of prints and ink blots over news print, alongside the carving process.
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