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,
                  Japan.

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
                  Museum,   Exeter.

       2001    Japan 2001 - The Plough Arts Centre,
                  Torrington.

       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”
                  Devon Guild of Craftsmen.

       2002    National Trust Gallery, Greenway, Devon.

       1999    “On and off the Wall”, Art Haven, Exeter.

       1999    “Trees of Dartington Gardens” White Hart,                   Dartington Hall.

       1998    Dartington Printmakers’ Exhibition,
                  Dartington Arts Gallery.

       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
                                  Craftsmen.

       2003-2006    Member of the Selection Election
                           Committee DGC.

Education and professional qualifications

       Reading University,
       Post Graduate Certificate in Education.

       Bath Academy of Art,
       Dip A D (Hons), Fine Art: painting / printmaking.

Teaching  

       1984-2003   South Devon College, Torquay:
                          printmaking/drawing.

Curating

       2008 Joint curator of Carpe Diem, exhibition of  selected Members’ work at The Devon Guild of Craftsman 8 March—20 April 2008.

 

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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