Mike Tedder

Collage

My collages often follow a particular time line in their realisation; a similar sequence of events, that begins with a quick sketch and culminates in the finished artwork. The initial pen or pencil drawing fixes a thought, sensation or experience; an analogue method of data storage that captures in the sketchbook the essence of an idea. This will then progress towards a more detailed drawing, where elements of the image and composition begin to take shape, developing the original idea, while considering further alternatives to explore.

At this stage I begin to select the coloured papers that I will use, laying the sheets out side by side, or overlapping one another, to examine how the graduations in tone or colour work together, and to explore the contrasting chromatic relationships that develop. The cutting stage can then commence once all the preliminary drawings are complete. This may involve the cutting of individual shapes, areas of colour, or layered contours of tone, to be laid one on top of the other. These contour 'maps' of light and shadow hark back to my early fascination with and continuing love of maps. As a schoolboy I enjoyed making contour models, based on local Ordnance Survey maps. Similarities of methodology are explored between mapping both the figure and the landscape. Elements of map making are further developed in 3D model drawing, with wire mesh maps describing the contours of a figure, and its features.

The collage is initially laid out upon a drawing board without adhesive. While elements of the image remain mobile, compositional or tonal graduation can be scrutinised, and adjusted as required. Major elements within the design may then be fixed into place with adhesives, while other areas of the composition remain mobile, permitting further development, or transformation of the original concept. Finally everything is stuck into position, and the collage is ready to mount. Sometimes I like to work on two, or multiple versions of the same design, selecting alternative colour combinations, or exploring negative silhouettes, and how variation changes relationships within the image. The original paper collages are assembled from layers of pre-coloured papers. Wherever possible, the high quality Daler 'Canford' range of papers are used to achieve the highest level of light-fastness possible. This ensures that you will be able to enjoy this artwork, in optimum condition, for many years to come. More recently the expanding range of papers used include the Daler-Rowney 'Murano' range, with its naturally textured surface and 45% cotton content. Additional tonal range and texture is also augmented by the use of Indian Khadi and other handmade papers.

Printmaking

My large woodcut prints are usually made from blocks of mdf. These do not have a visible grain, although some surfaces are more fibrous than others. The hard surface and softer core of the block is easily cut with lino tools, and a variation of line can be achieved by using sharp and somewhat blunted tools to deliver a sharp hard edged line, or a softer torn edge respectively. Most of my printmaking is monochromatic. I have always had a passion for black and white image making since the age of 9 and the acquisition of my first camera. I love the black/white, on/off, inked/not inked nature of relief printing that concentrates the eye on the graphical elements, line, and the fascination with areas of deep shadow that may often feature within a design. I have printed all the larger woodcut editions on the beautiful old Albion press (an early 19th century iron hand printing press) at the open access printmaking St. Barnabas Press studio in Cambridge. More recently I have been cutting linocuts, and soft-cut plates, which I print in my studio using a small block printing hand press and the help of some burnishing. This has prompted the experimentation with water-based relief inks for environmentally friendly and practical reasons.

Drawing

The recent ‘Fabrification of Reality' drawings are made using a sepia Faber Castell pen on translucent paper. It was the start of a series of works exploring an idea of working a reverse path from digital back to analogue. I began by constructing a digital 3D computer model of a figure, then used this as the basis for drawing with traditional analogue ink pen on paper.

Please ring us on 01843 292757 for more details on individual pieces.