1. Title: Embodied Mark and Distillation: Tacit Knowledge in Contemporary Photogravure Practice
2. Aims
This project investigates embodied mark making as a conductor of tacit knowledge within photographic and print processes. I am interested in how tactile decisions- wiping, pressure, etching, layering and concealment create tonal richness and emotional weight within systems that are assumed to be merely mechanically reproductive.
Photogravure functions in my practice as a process of distillation. I begin with many inputs- photographs of surfaces, scanner based imagery, handwriting, found objects, physical and digital drawing. These are progressively refined through a physical and digital process of mark making and erasure then by transfer onto a photopolymer plate. I ask how complexity can be crystallised into depth and how human labour can remain visible on the final print surface?
Objectives
1. To develop drawing as a connective methodology across digital and physical processes. Through the exploration of addition and subtraction as a shared logic between digital mark making and intaglio etching.
2. To establish technical fluency in photogravure printmaking and photopolymer dry film plate production. This will then allow me to adapt and build on historical process rather than religiously following traditional methods when more versatile materials are available.
3. To investigate the flatbed scanner as a contact device and use its capabilities in producing velvety, soft focus tonal compression. This work focus on seeking an emotional softness rather than sharper focus lens based photography.
4. To experiment with encaustic medium formulation and mark making as a method of selectively layering to obscure parts of imagery embedded within it while simultaneously adding intensity to the colour and depth to other areas.
5. To critically examine the historical and contemporary positioning on photogravure within discourses of materiality, indexicality and embodied knowledge.
6. To document and reflect on all experimentation through an ongoing research blog which will function as an archive but also a critical space.
3. Context
My practice is based in embodied ways of knowing, shaped by slow looking, the human touch and repetitive labour. Michael Polanyi’s concept of tacit knowledge describes understanding that resides in the body before it becomes explicit (Polanyi, 1996). This framework is the foundation of my approach to printmaking where decisions of pressure, ink application can’t be fully articulated but are instead learned through doing.
Historically, my project situates itself within the lineage of early photographic pioneers. William Henry Fox Talbot’s calotype allowed light to be translated on paper. The development of photogravure translated tonal information into etched copper plates. It was a movement of photography from the immaterial to an embedded, physical state.
In contemporary practice, artists continue to explore the material condition of photography. Tacita Dean’s photogravure work on the vulnerable nature of analogue processes in our age of digital overwhelm. Marco Breuer physically removes from photographic surfaces through manual abrasion. In printmaking, Silvia Glattauer pushes photogravure beyond traditional methods by embracing the direct to plate printing process which removes the need for costly vacuum uv exposure units. Interestingly, while embracing this innovative method which saves time and labour, she still emphasises atmosphere and abstraction over simple mechanical reproduction.
While working within this historical and contemporary context, I’m also interested in the dynamic creative potential offered by recent photopolymer plate technology. It allows me to replace the traditional copper plate frame with a multitude of replacements. Scanned found objects- old bottles, leaves, fragments of packaging and book covers. These are objects not traditionally associated with photogravure practice. I subvert photogravure norms while acknowledging its hallowed historical processes. It’s an exploitation and rigorous exploration of the adaptability of new materials available in this field.
Some contemporary applications of photogravure prioritise tonal accuracy and technical skill. My practice deliberately introduces gesture and visible handling. Digital drawing, fingerprints, tonal inconsistencies and plate variations aren’t errors. They’re choices. Evidence of my trust in my body as I’m drawing and making compositions. I don’t seek technical perfection, instead I prioritise richness, atmosphere and feeling.
John Ruskin’s assertation that one of the most profound acts is to see clearly and express simply (Ruskin, 1857) inspires my process of distillation. Through reduction, wiping, layering complexity is crystallised into surface depth. Roland Barthe’s idea of punctum (1980) is the basis of curiosity in how tonal variation can express emotional weight. Iain Mc Gilchrist’s writing on attention (2009) strengthens my commitment to slow looking and contemplative labour.
There is an autobiographical element in my practice as mark making through bodily presence. It has grown from a recognition of the power I see in Tracey Emin’s use of personal hand writing. My focus is more on the transmission of tacit knowledge through material processes rather than overt confessions.
4. Methodology
This research is practice led and an iterative process. Making is a hands on enquiry. This process is cyclical: initial collecting visual inputs through scanning, photography and drawing. This then moves to digital layering and refinement. I then translate digital images to photopolymer printing plates for printmaking. This is when physical inking, wiping and the labour of printing happens. A process of reflective analysis follows through blog documentation.
The flatbed scanner is used as a contact surface as well as a camera. It produces compressed tones which adds intensity and richness to images that adds a sense of tactility that I haven’t yet been able to replicate with a conventional camera. Digital drawing in a stage in the process rather than the final outcome. It’s a tool of integration and clarification. The photopolymer plate preparation reintroduces human gesture and variability of touch.
Encaustic medium is used to conceal and to intensify. Colour and tonal depth can be intensified through its translucency. Here I’m mirroring the use of traditional intaglio etching which uses subtraction to produce depth.
The blog functions as as a research space following Schon’s reflective practitioner model (1983), embedding reflection in action and reflection on action during the process.
5. Outcomes
The intended outcome is a cohesive body of photogravure and mixed media works that demonstrate the distillation process from complexity to simple clarity. Each piece will hold the memory of labour and be layered with concentrated human touch.
The work aims to embody richness, emotional depth and slow contemplation within contemporary art practice.
Resolution, installation development. Final show preparation with ongoing written reflection.
6. Work Plan
Detailed Plan: Weeks 1-6
Focused on establishing technical and infrastructure foundations. I researched and acquired photogravure equipment, practiced plate preparation workflows and began testing exposure and printing methods. This phase involved extensive trial and error learning Quad Tone RIP Software and testing of materials.
Core material processes developed via extensive exploration and formulation of various encaustic recipes, encaustic gesso formulation, and oil bar formulation and testing.
Encaustic board research and testing various methods of image transfer and mark making on surfaces.
Gathered materials and equipment for making artist quality encaustic. Hot plates, encaustic brushes, damar resin. Developed a range of pigmented encaustic recipes that were tested on small scale samples.
Exploration and formulation of oak gall inks using locally foraged oak galls.
Further cyanotype development on various surfaces.
Actively researched digital drawing and etching techniques. Experimented with drawing materials physically and digitally.
Created encaustic digital brushes using my own beeswax and textures photographed in the natural environment in my area.
Harvested dye botanicals grown throughout the Summer. Dried, pressed and made various ‘teas’ which I used to explore eco printing on paper.
Harvested and pressed botanicals I had grown in Summer for further experiments in mono printing.
I developed photography skills by regularly taking photos with my DSLR camera of my local environment. These have been archived for future use in creating digital brushes for drawing and etching.
Read two books by contemporary Photogravure artists to develop inexpensive versions of more costly photopolymer plates. Chose David Kachels direct to plate printing process using the dry film method. Practised adhering the film onto PETG plastic samples. Joined David Kachels online photogravure community to explore current practice further and expand skills.
Developed a series of resolved digital images based on documenting surfing culture in the Scottish Highlands.
Developed previously made botanical monoprints by stretching them and glueing them onto encaustic boards ready for further encaustic layering.
Created a series of resolved digital compositions based on self portraiture scans for The Good Rice exhibition.
Created a finished small scale encaustic piece with Polaroid emulsion lifts which was exhibited at the December Lincoln pop-up show.
Created a series of short films based on the beaches local to where I live. This gave me a grounding in Procreate Dreams software which I plan to develop further with digital drawing.
Further exploration of my scanning work through found objects and developing self portraiture and photography. I’ve explored a theoretical framework in tacit knowledge, and nursing models of reflection. I’ve established a research blog which is a live practice document. I’ve also built a WordPress artist website to house my blog. It contains my artist bio, downloadable cv, a portfolio. I’ve also created a store section with plans to publish digital artists books. Ive optimised hosting capabilities so that I can host online exhibitions of my work via a virtual gallery space.
I’ve gathered a technical infrastructure for a photogravure work flow from digital ( UV exposure unit, Epson P600 printer, Quad Tone RIP Software, Etching press and caravan darkroom).
I took an online course run by a contemporary Photogravure printmaker to build my knowledge of the practical skills.
Reflection on second tutorial with Jonathan and next steps.
Joined Scottish Art Network to access artist community and opportunities.
Reading Polanyi and gathering relevant research on tacit knowledge.
Weeks 7-12
Further developed a digital to plate workflow, refining image preparation through software exploration and created custom tonal adjustments. Produced initial photo positives and evaluated tonal depths for plate exposure. Began identifying embodied mark making as central to my practice through rigorous experimentation.
Weeks 13-16
Refined structure of my artist website & research blog. This involved developing categories, archiving process documentation and ensuring my blog functioned as a reflective research tool.
Weeks 17-20
Produced resolved works for exhibitions while consolidating and reflecting on conceptual direction. Through written reflection on my blog, clarified that embodied mark making and distillation process are central to my practice rather than periphery.
Weeks 21-40 (Unit 2 Expansion and Critical Testing)
Focus: Deepening and expanding this methodology.
Key actions:
Produce a cohesive series of prints exploring variation through controlled plate wiping experimentation.
Test larger scale or multi plate compositions.
Experiment further with irregular plate shapes and non traditional printable objects.
Refine encaustic layering techniques that best intensify colour and depth.
Present interim show body of work to the public.
Strengthen contextual research, situating my practice more firmly within contemporary photogravure practice and discourse.
Reflect critically on whether richness aesthetic or emotional.
Outcome:
A coherent body of work demonstrating distilled complexity with expanded plate logic.
Weeks 41-60 (unit 3: Consolidation and Presentation).
Focus:
Resolution, installation and articulation.
Key actions:
Finalise a resolved series centred on embodied variation and tonal richness.
Refine surface integration between photogravure print and encaustic.
Consider installation strategies that support slow viewing and contemplation.
Write critical reflection bringing together tacit knowledge, distillation and my positioning in the contemporary art world.
Prepare final exhibition and documentation
Outcome:
A mature body of work that demonstrates sustained enquiry, embodied processes and critical positioning within contemporary art practice.
7. Bibliography
Barthes, R. (1980) Camera Lucida. London: Vintage.
Batchen, G. (1997) Burning with Desire: The Conception of Photography. Cambridge, MA: MIT Press.
Beuys, J. (1990) Energy Plan for the Western Man. New York: Four Walls Eight Windows.
Breuer, M. (2010) Early Recordings. Ostfildern: Hatje Cantz.
Dean, T. (2011) Tacita Dean: Film. London: Tate Publishing.
DiClemente, C.C. & Prochaska, J.O. (1982) Self-Change and therapy-change of smoking behaviour: A Comparison of processes of change of cessation maintenance. Addictive Behaviours, 7, 133-142
Harmon, C. (2013) Photogravure: A Process Handbook. Carbon Press
Latour, B. (2005) Reassembling the Social. Oxford: Oxford University Press.
McGilchrist, I. (2009) The Master and His Emissary. London: Yale University Press.
Polanyi, M. (1966) The Tacit Dimension. London: Routledge.
Prochaska,J.O.,DiClemente, C.C. & Norcross, J.C (1992) In Search of how people change: Applications to addictive behaviours. American Psychologist, 47 (9), 1102-111
Prochaska, J.O. & Velicer, W.F.(1997). The transtheoretical model of health behaviour change. American Journal of Health Promotion, 12(1),38-48
Ruskin, J. (1857) The Elements of Drawing. London: Smith, Elder & Co.
Schön, D. (1983) The Reflective Practitioner. New York: Basic Books.
Talbot, W.H.F. (1844–46) The Pencil of Nature. London: Longman.
Emin, T. (2005) ‘I Need Art Like I Need God’, Frieze, Issue 92.