Brian D Hodgson

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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
April 2017



CHANGING CHANNELS I by Brian D Hodgson
CHANGING CHANNELS I - significant events (2017)
Etching
65cm x 75cm

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.



CHANGING CHANNELS II by Brian D Hodgson
CHANGING CHANNELS II - unexpected consequences (2017)
Etching
65cm x 75cm

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.



CHANGING CHANNELS III by Brian D Hodgson
CHANGING CHANNELS III - exits final (2017-2018)
Etching
65cm x 75cm

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.



'Attrition' by Brian D Hodgson
Attrition (2011)
Etching
Edition size 10
Image size 9cm x 16cm
Printed on Somerset Satin White


'Corrasion' by Brian D Hodgson
Corrasion (2011)
Etching
Edition size 10
Image size 18cm x 25cm
Printed on Somerset Satin White


'Traverse I' by Brian D Hodgson
Traverse I (2015)
Photopolymer intaglio print with etching
11cm x 16cm


'Traverse I' by Brian D Hodgson
Traverse II (2015)
Photopolymer intaglio print with etching
11cm x 16cm


'Traverse I' by Brian D Hodgson
Traverse III (2015)
Photopolymer intaglio print with etching
11cm x 16cm


'Traverse I' by Brian D Hodgson
Traverse IV (2015)
Photopolymer intaglio print with etching
11cm x 16cm


'Traverse I' by Brian D Hodgson
Traverse V (2015)
Photopolymer intaglio print with etching
11cm x 16cm


'Time' by Brian D Hodgson
Time (2012)
Etching
Edition size 10
Image size 41cm x 61cm
Printed on Somerset Velvet Soft White


'Time (detail)' by Brian D Hodgson
Time (detail)


'Gravity' by Brian D Hodgson
Gravity (2012)
Etching
Edition size 10
Image size 60cm x 49cm
Printed on Somerset Velvet Soft White


'Gravity (detail)' by Brian D Hodgson
Gravity (detail)


'Serendipity' by Brian D Hodgson
Serendipity (2012)
Etching
Edition size 10
Image size 49cm x 73cm
Printed on Somerset Velvet Soft White


'Serendipity (detail)' by Brian D Hodgson
Serendipity (detail)


'Spurting' by Brian D Hodgson Detail of 'Spurting' by Brian D Hodgson
Spurting (2000) Spurting (detail)
Etching
Edition size 10
Image size 121cm x 30cm
Printed on Somerset Satin White


© Brian D Hodgson




© Brian D Hodgson