Ky Lewis: The Essence of Bushes

Ky Lewis gained the Intaglio Award in Jackson’s Artwork Prize this 12 months together with her work Ready For The Starman. On this interview, she discusses embracing the problem of working with Tetra Pak, her visceral connection to timber, and maintaining tabs on the resident spiders.

Above picture: Ky Lewis in entrance of her backyard studio

Ready For The Starman, 2024
Ky Lewis
Drypoint on paper, 50 x 35 cm | 19.6 x 13.7 in

Josephine: May you inform us about your creative background?

Ky: It’s going to sound corny however I’ve at all times drawn, painted, printed… made issues. All through main and secondary faculty I had the perfect assist ever from lecturers who have been actually inventive, and to be trustworthy on the time, maths and science have been an utter horror for me, so my world was artwork – in all its types. I made a decision to do graphics initially – ‘It’s business artwork, you may make a residing’ was the soundbite of the time. It was the early 80’s and so that is what I did, 4 years of it, however that basis was unbelievable and Medway Faculty of Artwork was an absolute pleasure with such a broad and intensive entry to design, sort, illustration, pictures and actually passionate tutors and glorious visiting lecturers. We have been there on a regular basis, all day, and would typically be thrown out on the finish of the night as we didn’t need to go away.

After Medway I headed to North London and Barnet, persevering with with graphics however leaning towards extra printmaking and illustration – making distinctive books and dealing lots with lino and monoprint. After the enjoyable there and with a brand new thought about what I wished to check additional, I headed South to Camberwell Faculty of Artwork and Craft and joined the illustration and printmaking course. This was important for me as I realised how a lot my early faculty experiences of printing with reduction have been completely embedded and I appeared to spend as a lot time as I probably may in both the Camberwell Press or upstairs within the print rooms – I can nonetheless odor them. I used to be working reduction then, utilizing lino but additionally exploring different supplies that I may engrave upon – I used to be taught by John Lawrence and I’ll always remember him telling me that you would use something, and I did. I began to engrave on mannequin making plastic (as he additionally did) as finish grain wooden was too costly for a pupil. This continued after I left artwork school, working as a contract illustrator for completely something that got here my method. I used to be actually lucky to have the ability to illustrate nearly each job I received utilizing printmaking.

I labored for a superb few years after which paused for household and ended up operating an outreach schooling group for some time, however on a regular basis I used to be nonetheless both sharing data by doing workshops and I used to be at all times drawing, by no means and not using a sketchbook or digital camera to doc life. For a few years, the printmaking took a again seat and I labored with extra photographic responses, but each time I noticed a printmaking present I ached deeply and the decision was too robust, returning to print utilizing intaglio strategies was simply a part of my continued love of experimentation and a robust curiosity in course of pushed work strategies.

Reviewing a brilliant lengthy print on a handmade press mattress

Josephine: What does a typical working day within the studio appear to be for you? Do you will have any essential routines or rituals?

Ky: I’m undecided I’ve typical days, I in all probability lack routine truly, I’ll attempt to learn emails first after which my head feels free to proceed with a specific print. I’m very a lot an evening owl and can actually get caught into work within the afternoon into the evening except I’ve a deadline. I’m fortunate to have two areas that I can name studios and each are at dwelling so travelling will not be a part of the equation for me. I are inclined to do all of the technical and digital stuff that’s now wanted indoors, then I head to the underside of my backyard to my kind of remodelled Edwardian shed that’s now my studio/darkroom – a darkroom with a ridiculous quantity of home windows!

The studio sits on the base of my large Japanese Pagoda Tree and at this second in time there may be an audible hum coming from the 1000’s of bees within the blossom – it appears like its snowing petals on a regular basis through the summer season, so I suppose one of many first issues I do is sweep my approach to the door so I don’t stand on bees. I’ll take my sketchbooks down there and a drink, put the radio on or pull the twine on my outdated Muji CD participant and hearken to all kinds of music relying on what temper I’m in.

I attempt to clear up after every print session however typically I’ll go away ink out whether it is okay and it will possibly keep open, however ensuring the resident spiders, ‘Bob and Roberta’, are out of the way in which is one factor I examine on. When working with the press I be sure it’s dusted down and I put the blankets again on, I don’t have operating water so if I have to soak paper then I’ve to go and get that and high up the tray after which I’m prepared to start out printing.

Langton Road 1, Breathe Collection, 2023
Ky Lewis
Distinctive silver gelatine print, 60 x 91 cm | 24 x 36 in

Josephine: Which supplies or instruments may you not stay with out?

Ky: A Lamy pen, my drypoint needle (do-it-yourself) and my outdated E.C.Lyons reduction and engraving instruments of their roll (which I’ve had since T.N. Lawrence was in Bleeding Coronary heart Yard in Farringdon), and a pinhole digital camera. As for supplies, I’ve to have a sketchbook, it doesn’t matter an excessive amount of what sort, however I want to have the ability to draw, particularly once I journey. I’m at all times on the tube, so maintaining them small is ideal and the paper must be easy for the pen.

After I’m printing on the studio, my oil primarily based inks from Intaglio – drypoint black or velvet black, or my Cranfield Secure Wash. If I’m away, I take Cranfield Secure Wash so I can clear up simply – sure I do print on vacation, and I even take my 3D printed Open Press Undertaking mini press with me!

A few of Ky’s intaglio instruments

Josephine: Do you’re employed from a reference? What’s your course of?

Ky: I work each from reference and likewise in situ – en plein air. I don’t work from reference if I haven’t collected it for myself and been there so I can perceive the topic – the sunshine, its type and texture. The print, Ready For The Starman was partly drawn in situ whereas ready within the park – I didn’t end it there however I did collect photograph reference to proceed. The tree is the ‘improper’ method round because of this – generally I bear in mind to flip the picture if utilizing pictures however I a lot want being there and getting the essence of the area.

I Seemed Up and You Have been Gone, 2024
Ky Lewis
Drypoint on Tetra Pak, 14 x 14 cm | 5.5 x 5.5 in

Josephine: Do you commonly draw or hold a sketchbook? If that’s the case, how does this inform your work?

Ky: Sure I do! As acknowledged beforehand I at all times have a sketchbook on me for drawing on the tube or while out and about in London. I are inclined to have quite a few on the go every with a unique really feel – landscapes, holidays, allotments, and so forth. I feel the one ones I at all times replenish utterly and rapidly are the figurative tube books which are sometimes A6 Talens, Moleskine or related, as they slot in a pocket. I additionally use the A5 books that John Purcell make for panorama/journey and generally concepts. For all times drawing once I’m not working direct onto a Tetra Pak I exploit the Clairefontaine brown paper A3 spiral certain sketchbooks.

Tree drawing from the native park

Josephine: Have you ever ever had a interval of stagnation in creativity? If that’s the case, what helped you overcome it?

Ky: I actually can’t say I’ve, I feel as I work in so many processes as quickly as I get stifled by the constraints with one course of, my head is already figuring out combine one other methodology in an effort to enliven both the photographic or the print aspect of my apply. The 2 features of my apply are as essential as one another and so they feed one another. I’m engaged on combining each parts…

Underneath Ziggy’s Tree, 2024
Ky Lewis
Drypoint on Tetra Pak, 28 x 38 cm | 11 x 15 in

Josephine: Are there any particular artists or mentors who’ve impressed you?

Ky: It is a tough one, I’m influenced by so many and a lot and it’s not simply artists, it may very well be a scientist or a author and some phrases in a information article can set off an thought. After I was at school there have been a lot of tutors each visiting and common, Maureen ‘O’ Paley (the O was dropped a very long time in the past) for pictures, and experimentation. John Lawrence for the pure pleasure of printmaking.

Inspiration in artwork and pictures overlaps, generally the way in which a photographer portrays the world makes me consider composition, gentle, subject material – Sally Mann could be one instance. Walker Evans was my first photobook and Graham Sutherland my first artbook on the age of 11. I’m influenced by the communities I work inside.

I feel that the majority of my influences are heavy on the black and white, Norman Ackroyd and his potential to seize gentle and environment. Anselm Kiefer for the immensity and gravitas, Goya, Clare Leighton, Fukase, Kollwitz, Auerbach, Bacon, Etel Adnan, Kentridge, Rego, there are too many!

Working from a sketchbook drawing

Josephine: What have been you desirous about or exploring on the time you made Ready For The Starman? What impressed it, and the way did it come to be?

Ky: I had for a while been engaged on a bigger physique of labor referred to as ‘Breathe – A Dialogue with the City Forest’. Began originally of lockdown, it actually sought to take a look at the significance of timber in our surroundings, throughout the metropolis and suburbs – working each photographically and utilizing drawings and drypoints. I used to be already hyperfocused on types of timber, particularly after road timber which are sometimes brutally pollarded in London and extra so in sure boroughs. This park had specimen timber as a distinction to the previous road timber, which have been now carbon sticks, and while ready on this completely different park for my daughter, I made a decision to attract this and one other tree. I began by drawing instantly onto the Tetra Paks (I truly carry these round with me!), as I didn’t end it there I took reference pictures.

The concept of the identify got here to me as I used to be sitting close to the bandstand at which David Bowie had carried out in 1969, it was being renovated and regarded very good. I used to be imagining what it might need been like on the time – had it been planted then? The identify appeared excellent for it – it felt vigorous and hope, there was a slight breeze which lifted the branches therefore all of the motion.

Josephine: Why did this piece really feel like the correct one to submit?

Ky: I feel it was as a result of it appeared extra visceral than a few of my others – it was one of many largest items I had achieved and I consider I used to be a bit extra assured with it because it had been proven at Woolwich Up to date Print Truthful, it had acquired extra consideration than I ever imagined. I additionally thought my ardour for timber got here throughout on this one.

Soane’s Tree, Dulwich, 2024
Ky Lewis
Drypoint, 19 x 21 cm | 7.4 x 8.2 in

Josephine: How did it really feel to maneuver by way of the phases of the competitors and win the Intaglio Award?

Ky: Oh consider me, I used to be delighted to get onto the prolonged longlist and by no means imagined that it might go additional, to obtain an e mail every week after that was simply astonishing to me and I used to be completely shocked to obtain notification of successful the award – I’m positively nonetheless reeling from that one.

Engaged on The Elder within the studio

Josephine: How did the constraints or qualities of the Tetra Pak plate affect the end result of this piece?

Ky: I really like the challenges this floor creates and it is very important me in my apply to be as sustainable as I can, so I’ve at all times re-used and recycled and now I’ve simply taken it a bit additional. The Tetra Paks can range in high quality and in some ways in which makes it attention-grabbing, in different methods it will possibly imply that the dimensions of the version is decreased – if I’m cautious I can get thirty out of them however with this one it was restricted to 10 after a number of AP’s and the preliminary determination making work. The creases and former lifetime of the pack comes by way of and I like that, it’s extra of a narrative. It could appear to be the tree was bending to evolve to the constraints of the pak form however the tree was truly that form – it appeared made for it.

The Oak Tree Bloodbath, 2025
Ky Lewis
Drypoint on Tetra Pak Version, 142 x 15 cm | 55.9 x 6 in

Josephine: Are you able to talk about your curiosity in timber and your ‘A Dialogue With The City Forest’ sequence? What retains pulling you again to that topic?

Ky: This undertaking will in all probability by no means finish – I at all times bear in mind having a love of timber, possibly a romantic pictorialistic viewpoint, watching them flash by from the automotive or prepare window as a baby. I recall the lack of a specific avenue of Elms and after they have been misplaced to Dutch Elm illness, it has at all times stayed with me. As I write this a neighbouring backyard is having a tree reduce down and I discover I get a visceral response listening to the sound of the chainsaw. I really feel I need to seize by way of drawings pictures or prints as many timber as I can. The intricacies of every tree, the general types – the irony is I’m not one for sitting drawing every leaf however I’m extra fascinated by attempting to get the essence of it onto paper.

The Previous Manner, 2025
Ky Lewis
Drypoint on Tetra Pak, 28 x 38 cm | 11 x 15 in

Josephine: Are there any new supplies or concepts you’re excited to discover utilizing your prize?

Ky: I’m trying ahead to utilizing them and likewise to understanding how sure mediums work with the inks on the Tetra Pak substrate. I had a restricted provide earlier than and naturally this offers me the chance to be free to discover, not in a wasteful method however the pressures of utilizing ink sparingly limits the scope of the work and the size. So I’m already planning one thing a lot greater and that I discover fairly exhilarating and thrilling. After chatting with Cranfield I’ve already learnt some suggestions and I’m hoping to place these to good use quickly.

Defence Vulnerability, Ness sequence,, 2019
Ky Lewis
Distinctive silver gelatine print 9.2 x 10.7 cm | 4 x 5 in

Josephine: What’s developing subsequent for you?

Ky: I’ve been very busy this 12 months with all of the completely different features of my apply and I’m at the moment getting ready for a present with Loop Printmakers at Bankside early September, then I’m very completely happy to have been included in ‘Small However Mighty’ RE additionally at Bankside with ‘Underneath Ziggy’s Tree’ which was made similtaneously ‘Ready for the Starman’ after this, I’m nonetheless coming to phrases with the truth that the Victoria and Albert Museum acquired ‘WFTS’ for his or her print assortment and on the finish of September there might be a printmaking present, “Lasting Impressions, Ladies Printmakers from 1900-Now” Past this I’m hoping to have a vacation and spend a while engaged on some concepts I’ve had after making a brand new large press mattress.

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