PROFILE
The years 1980–83, spent earning a BA in Fine Arts at Leicester Polytechnic in England, bring back many happy memories; it was this experience which greatly influenced me as an artist and a person.
Sharing studio space in a wonderfully ramshackle factory building, an impressive mix of artistic disciplines were at the disposal of students. From printmaking – intaglio, relief, lithography, screenprinting, monoprinting – to life study, drawing, painting, woodwork and even papermaking, one was spoilt for choice. I never stopped dipping in and out of these options but fairly soon, largescale ink drawings, printmaking in general and etching in particular became my favourite activities.
We students received constructive criticism, encouragement and inspiration from great tutors such as Eileen Cooper, Mike Hale, Jane Andersen, Gordon Wooton, Stroud Cornock, Mike Hoar and many others.
My thematic interests – realised in different media – were wide-ranging and included portraiture, trees, absurd reality (based on Kafka's books) as well as social-political reality (e.g. N. Ireland, the invasion of Lebanon and the massacre of Palestinians). My artistic influences included Goya, Schiele, Picasso and German Expressionist artists. Stylistically eclectic, the only identifiable constant was in my use and love of linework.
Following graduation, I chose not to pursue the precarious life of a working artist. Although it was something I always regretted, I knew that one day, I would return to printmaking. Little did I know, that that moment would arrive some 25 years later!
In the meantime I made (and still make) a living as a graphic designer but now hope to spend more time on printmaking. One of the best events of my life was meeting my future wife Karin, an Austrian, in London in 1998. We are fortunate, now, to live in a renovated house in a wonderful part of Austria not far from Vienna. Which brings us back to 2008, when we jointly created a home studio in which to pursue our passions for printmaking and ceramics.
I am very grateful to a number of people – not least Karin – for supporting me in getting back into printmaking. Chief amongst them are Henriette Leinfellner, a well-known Austrian printmaker, lecturer and recent mother, who, despite her many committments, offered invaluable advice on buying an etching press and information on printmaking suppliers. Talented young etcher, David Borrington, MA, RCA, earned his titles by graduating from the Royal College of Art and accepted an invitation to help revive my rusty etching skills – which he did with remarkable patience and humour. I hope he got as much out of the experience as much as I did!
Returning to printmaking – after so long – is both exciting and scary at the same time. It is, though, an opportunity to engage in a fascinating medium with fresh eyes, motivation and enthusiasm – something which I hope participants in the workshops will benefit from.
Viq Ali BA (Fine Arts)
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