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Name Deborah TRELIVING Signing D.R. TRELIVING International exhibitions 2001 Imperial Hotel, Osaka, Japan. 2000 Nishikura, Katuyama-cho,Okayama, Japan. 1999 Terra GALLERY, Kyoto. 1999 Nagi Moca Museum of Contemporary Art, Solo Exhibitions 2007 Occombe Farm. 2006 Riverside Mill, Devon Guild of Craftsmen. 2005 Rowcroft Hospice Torquay. 2002 Riverside Mill, Devon Guild of Craftsmen. 2002 Phoenix Arts Centre, Exeter. 2001 The GALLERY, Torbay Hospital, Torquay. 2001 Japan 2001, Royal Albert Memorial 2001 Japan 2001 - The Plough Arts Centre, 2001 Ariel Centre, KEVICS, Totnes. 2001 Plymouth Arts Centre. 2000 Daiwa Foundation Japan House, London. Selected Joint Exhibitions 2007 The Great Create, Greenway, Devon. 2006 Art Farm Project, Middle Rocombe Farm. 2006 The Red House, Exeter. 2004 Oyster Gallery, Torquay. 2004 Torbay Contemporary Art Festival, Spanish Barn, Torre Abbey. 2003 “Surface Tension” 2002 National Trust Gallery, Greenway, Devon. |
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1999 “On and off the Wall”, Art Haven, Exeter. 1999 “Trees of Dartington Gardens” White Hart, Dartington Hall. 1998 Dartington Printmakers’ Exhibition, 1997 Printmakers’ Council National Open Print Exhibition, London. 1997 4th Open Print Exhibition, Royal West of England Academy. 1998-2007 Annual Summer Exhibitions, Devon Guild of Craftsmen. Professional organisations 1998-present Member of The Devon Guild of 2003-2006 Member of the Selection Election Education and professional qualifications Reading University, Bath Academy of Art, Teaching 1984-2003 South Devon College, Torquay: Curating 2008 Joint curator of Carpe Diem, exhibition of selected Members’ work at The Devon Guild of Craftsman 8 March—20 April 2008.
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Current work A year ago I set up my print studio in the Stable Yard at Cockington Court, Torquay. This is giving me the opportunity to produce exciting new work. My ideas, initially, come through making and creating, exploring materials, and processes. The process of making the Collagraph and Carborundum plates is as important and creative as the process of inking and printing them. Through the plates I have explored shape and texture, and through the printing process, colour. These relate to recollected memories and experiences, to thoughts about life, and environmental issues. The plates themselves have a beautifully subtle colour and with the residue of ink from the printing process have become works of art in their own right. Recently they have become an inspiration and source for me to pursue a new direction in painting. The process of creating a Carborundum plate is very physical, tactile and akin to the process of painting. Carborundum (silicon carbide) is used to form a tooth on the plate, to hold the ink during the wiping process. On some of the plates I paint with a mixture of Carborundum with dilute PVA glue and PVA paint. On others I have painted PVA glue, then sprinkled with Carborundum and sealed with shellac. I also use painting mediums, and varnishes to create varied textures, and tones. The plate is inked like an etching: soft oil based ink is rubbed into the texture of the plate, it is then wiped off the top surface, and finally, another colour is rolled over the plate. The print is taken onto dampened Somerset paper, using an etching press. To make a second print the plate has to be re-inked. I rarely produce editions of prints, but will rework the plate and then make a subsequent print. Thus each print is unique, an original. January 2008 |
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