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Anthropocene

Anthropocene

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Artist: Ian Gale

Medium: Cyanotype & Photo Lithography

Dimensions: Paper Size 28 x 38cm / Image Size 28 x 38cm

Edition: 1/1

Work will be dispatched on completion of the Endless Forms, Most Beautiful exhibition closes on the 13 July.

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  • About this print

    I'm trying to represent the long term impact of human endeavour on local nature through allegory like a mediaeval artist might have (if they had a smartphone).
    The horse's skull is Roman and was found at Vindolanda. I was thinking of the "pale horse" ridden by Death in the 4 Horsemen of the Apocalypse.


    My digital image, made with a modern smartphone, also has reflections of modern humans embedded in it.

    The Cyanotype was originally a commercial process for copying architectural and engineering designs.

    Photolithography was a recent development in commercial printing.
    In Northumberland the sound of the curlew is still a welcome sign of Spring but it is in national decline along with the thrush.

    Together they stand for the unintended consequences of human technological progress over two thousand years.

    (Cyanotype, overprinted with 3 colour Photolithograph.)

  • Endless Forms, Most Beautiful

    A new bestiary and herbarium for at risk species by artists from Northern Print.

    “Endless Forms Most Beautiful” is made possible with The National Lottery Heritage Fund. Thanks to National Lottery players, we have been able to support visits, new printmaking and school’s programme for this project.

    Northern Print artists bring together traditional printmaking and the natural world with a series of new prints highlighting the diversity of species that are categorised as ‘at risk’.

    The ‘endless forms’ include marine life; plants; birds; insects and mammals with many familiar and much-loved species as well as less known and intriguing creatures that have captured the imagination and hearts of Northern Print’s artists.

    This exhibition of 45 new prints has been made following a series of visits to our region’s natural history collections and habitats and represents the tiniest tip of the iceberg of our natural world under threat.

    The artwork includes a range of approaches and printmaking processes – including heritage craft skills also deemed at risk including letterpress and mould-made papers

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