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The tools, methods and the obsessional cross-hatched lines and matrices of the old engravers really draw me in, and in practice come quite naturally to me. When I hold a steel drawing needle in my hand and push through the wax ground to connect with the metal surface of the etching plate I find my location. But that is not the whole story. Drawings can be made in many ways, like Organised Accidents, and Actions: the printing plate as a site of significant events. Process emotion, torn out of a metal surface through the vitriolic power of Acidic Consumption. You have to dissolve in order to create. This is the way the acid works into a drawn line: it won't behave. It side-bites, under-bites and foul-bites, producing marks born directly from corrosion and attrition, infiltrating and infecting the drawing. Utilising this, one of nature's great processes, appears to accelerate and compress time. Take a drawing through this journey and see the markings printed, standing raised and proud from the surface of the paper like black welts. Then take a magnifying lens, and the drawing becomes a surface to climb into and explore like a new kind of space. Brian D Hodgson |
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| CHANGING CHANNELS I - significant events (2017) |
| Etching Image size 49cm x 64cm Paper size 71cm x 85cm |
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Visiting a place on the Northumberland coastline over twelve days, I used its unique effects of geology and sound to focus, think and draw the experience on a grounded etching plate. Sitting in this tide-filled rock amphitheatre, looking through a tunnel channelling the sea in and out, I tried to work out my psychological location. As I was drawing, a second etching plate lay chained to a rock in the tunnel, under the sea, for one summer full moon tide. |
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| CHANGING CHANNELS II - unexpected consequences (2017) |
| Etching Image size 49cm x 64cm Paper size 71cm x 85cm |
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Integrating the Sea Plate and the Drawn Plate during printing sets up a dialogue between the two plates; this forms a bridge, allowing a discourse between myself and the sea. |
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| CHANGING CHANNELS III - exits final (2017-2018) |
| Etching and photopolymer intaglio Image size 49cm x 64cm Paper size 71cm x 85cm |
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Using photopolymer intaglio plates, I then introduce a photographic element moving through the drawing, like my final act of swimming through the channel to the open sea, entering the image, and thereby finding my location. Please see also the video CHANGING CHANNELS - Enter the Image on the Actions page. |
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| Attrition (2011) |
| Etching Edition size 10 Image size 9cm x 16cm Printed on Somerset Satin White |
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| Corrasion (2011) |
| Etching Edition size 10 Image size 18cm x 25cm Printed on Somerset Satin White |
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| Traverse I (2015) |
| Photopolymer intaglio print with etching 11cm x 16cm |
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| Traverse II (2015) |
| Photopolymer intaglio print with etching 11cm x 16cm |
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| Traverse III (2015) |
| Photopolymer intaglio print with etching 11cm x 16cm |
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| Traverse IV (2015) |
| Photopolymer intaglio print with etching 11cm x 16cm |
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| Traverse V (2015) |
| Photopolymer intaglio print with etching 11cm x 16cm |
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| Time (2012) |
| Etching Edition size 10 Image size 41cm x 61cm Printed on Somerset Velvet Soft White |
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| Time (detail) |
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| Gravity (2012) |
| Etching Edition size 10 Image size 60cm x 49cm Printed on Somerset Velvet Soft White |
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| Gravity (detail) |
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| Serendipity (2012) |
| Etching Edition size 10 Image size 49cm x 73cm Printed on Somerset Velvet Soft White |
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| Serendipity (detail) |
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| Spurting (2000) | Spurting (detail) | |
| Etching Edition size 10 Image size 121cm x 30cm Printed on Somerset Satin White |
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| © Brian D Hodgson |
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© Brian D Hodgson |