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ABOUT

THE PRINTS

All prints up to 24" wide are printed by me using an Epson Stylus PRO 7900 using UltraChrome long life inks on smooth white acid free paper having a weight of around 300 gsm. (For open edition prints, a lighter paper is used.) They are original in the sense that they are the only physical embodiment of the image; they are not merely reproductions of a separate art work. Most prints are in limited editions and some are offered in open editions at a lower price.

Tree and Woods prints are, in most cases, assembled digitally from several exposures, the purpose being to ensure that each visible twig or leaf is sharp. The inkjet printer produces as sharp an image at the edges of a print as at the centre (unlike an enlarging lens). The trees are deliberately separated from distracting backgrounds, and where necessary the foreground is washed away to leave the trees unencumbered by irrelevancies. The sharpness of twigs and leaves adds an immediacy to the image not apparent in a standard photograph or painting and not apparent on the computer screen.

Abstracts are colourful compositions created directly in the computer, aiming to produce an harmonious relationship of shape, arrangement and colour.

Abstractions concentrate on details of trees or other subjects, selected for their strong and interesting pattern; colours and textures of the trunks and the background are chosen to increase the impact.

Chairs show arrangements of chair silhuettes coloured and arranged, paying particular attention to gaps and alignments.

Photographs both mono and colour) are more conventional, with digital manipulation sufficient to remove the worst limitations of photography.

Derivations offer colourful variations on a starter image.

Panoramas comprise images in which the width exceeds the height by 2:1 or more.


Only unframed prints are offered at present, posted in a cardboard roll. In most cases, prints have a sufficient border so do not need a matt. (I prefer to avoid a "white" matt because of the impossibility of matching the "white" of the print and matt, and of their probable different rates of yellowing.) It is recommended that an impervious (e.g. plastic) sheet should be inserted between the print and an MDF backing to prevent acid from the latter contacting the print.

The sizes of prints being offered here are suitable for domestic purposes; larger prints are desirable for offices, restaurants, foyers etc., e.g. the square semiabstracts could be 47" square with or without a border (printed by others). Please contact me for availability and prices.

Solo exhibitions:-
Vaughan College. Leicester. Sept./ Oct. 2005.
Glenfield Hospital, Leicester. Apr./ May 2006
The Richard Attenborough Centre, Leicester. 03/02/07 to 05/03/07
Leicester City Gallery Upstairs gall. July 15-19 2008
Leicester New Walk Museum "Wall" May to July 2011
Quinns Bookshop Gallery, Market Harborough Aug. 2016

Group exhibitions:-
Waterstones. Nottingham. Jan./May. 2006
Nottingham Open exhibion 2006
Derby Open exhibition 2006
Prizewinner in Open Exhibition at The Leicester City Gallery Dec. 2006
Leicester City Gallery Open exhib.2007,8,9,10,11, 13,14,15,16
Art House, Leicester. June 2010,11,12.13.14,16
Residency at Nature in Art 17to22nd Feb 2009
Active Arts. Countesthorpe Community College. 2014, 15,16.


My prints have been purchased by Leicester University and many private buyers in the UK,also in France, Switzerland, USA and Hong Kong.


PETER RAWSON (Me)

During my early youth in the 1940s, my father frequently projected lantern slides made by my grandfather (a keen amateur photographer), of cathedrals and churches, photographed by him in the early 1900s. These projections kindled in me an interest in photography and a desire to take my own photos. Starting with a ¼ plate camera on a wooden tripod and progressing through various cameras over many years, I acquired my first serious digital camera in 2003.
During this period, I acquired a knowledge and appreciation of sculpture from the simplest Cycladic figures, via the magnificent Greek bronzes e.g. the Charioteer in Delphi museum, to the monumental works of Epstein and Henry Moore. In painting, from the murals of Pompeii via the English watercolourists, e.g. Turner via the French impressionists, e.g. Monet to the American abstract expressionists, e.g. Jackson Pollack and Rothko. In photography, the photographers Cartier-Bresson, Bill Brandt and Ansell Adams, whose ultra sharp photos were an inspiration.
From an early age I had been thrilled by the sharp contrast between trees in winter at dusk and the clear blue sky behind them, and longed to produce prints which would produce a similar effect. I tried a variety of cameras up to a 5”x4” monorail, which in only a few cases proved successful. Also I became increasingly dissatisfied by the gelatinous surface of the papers normally used in wet photography and longed for a process which would allow printing onto a matt watercolour type paper. This led to an interest in Collotype (which depends on the relative absorption of water in differently exposed bichromated gelatine leading to the relative acceptance of a greasy ink as in lithography). From this I developed an interest in traditional print making techniques e.g. linocut, engraving and etching, lithography and silk screen, each with their own characteristics and limitations. I was attracted by the boldness of linocuts, the sharpness of line of engravings and also by the relatively modest prices of prints, even in limited editions by renowned artists, which makes it possible for the ordinary art lover to own original prints (as opposed to reproductions of dubious quality).
During my working life as a mechanical design engineer, firstly in the Atomic energy field and lastly in steam turbines, both for electricity generation, I had little time to devote to developing the printing process I sought. Fortunately the availability of high resolution digital cameras, the development, and the continuing development, of digital manipulating software and the availability of wide format inkjet printers, have enabled me to fulfil my ambitions. I can produce large prints of tree skeletons with sharp detail or bold bright colours in “abstractions” derived initially from parts of trees or more recently from drawn shapes, with inks having adequate vibrancy and very long life, on matt paper.
In addition to my enthusiasm for tree skeletons and by analogy, silhouettes of all kinds, I was strongly impressed by the gap between the two parts of Henry Moore's "Moon Head". There seemed to be a powerful energy in this gap. Gaps can be more significant than touches and are used by many artists e.g. Michelangelo ,Sistine chapel, between the fingers of God and Adam. I now consciously take account of gaps in arranging chairs (a particular example of a silhouette) and most recently, drawn shapes. In these cases I am taking advantage of the freedom to move shapes, separated from their background, to any position that I want, so as to produce a composition analogous to a piece of music. The three basic elements of a picture; shape, arrangement and colour can be roughly likened, in music, to melody, harmonisation and sound quality.
I have recently made available some of my abstracts to Vida for use on scarves, tees and wraps. These are illustrated on their website, see CONTACTS.