Melvyn Evans is fascinated by connections between aural traditions and our connections to the British landscape. There is a sense of prehistory in old place names and early monuments. Most of his prints are about the exploration of this sense of place.
He generally starts with small drawings and some of these ideas he scales up into larger drawings. He is very interested in composition, creating a flow through the image. Once he is happy with the drawing, he reverses it and transfers it onto the lino ready to start cutting. He uses a separate lino block for each colour, the colour separation being worked out at the drawing stage.
For him there is a very close relationship between the printmaking process and drawing, in that he is asking a limited number of colours to achieve a desired effect without the use of a key block.
The key block is generally the last block to be printed, usually a dark colour, creating the line work around the shapes in the image. His prints rely instead on a balance of shapes and tones worked out through repeated drawings. As this series has developed he has used texture to soften the graphic look that is so characteristic of linocuts and to impart a more painterly quality to the final image. The distressed surface connotes erosion, which adds another dimension to the artwork by suggesting the passage of time. The use of texture also introduces an element of chance, offsetting the hard-edged graphic look and fairly controlled process of cutting with steel gouges and knives.
The works illustrated below are intended to give you a taste of what the gallery has to offer, please email us on firstname.lastname@example.org or call us on 01223 324222 to find out which pieces are currently available.