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The Presentation 3.6 |
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On
Edition and Originality: |
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‘The Seven-fold Drowning Standard’ |
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Against a printmaker, or one who
is largely engaged in the making of prints, the charge could be laid that
each and any work is not an Original, that it is in some sense a manufactured
object. Avoiding the obvious semantics of the word ‘manufacture,’ one might
counter by asking if a sculptor in bronze should also offer for sale the
‘lost wax’, as the original. Quite clearly the lost wax in question is an
intermediate stage in the process of making the finished object and should
not be regarded as the original |
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As that Printmaker I lay claim to
that term ‘Lost wax’, in its most general sense, to describe those drawings,
or montages or assemblages that perform that said function, in moving toward
a unification in and of the final image. In this sense then, the print can be
seen as the original, in that it alone finalises the artist’s intention. The
fragility of the ‘lost wax’ is, as an expedient, given over to the strength
of a preserving medium. I don’t think it can really be disputed, that, in the
above sense of a finished object, a Print can be seen as an Original. The
real question of originality then becomes one of edition. |
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Edition is a double-sided concept; on
the one hand it is a measure of quantity, on the other of Authenticity and
both in their way significant of originality. Authenticity is finally a
matter of trust; somewhere along the line you are going to have to take
homebodies word for it, one way or the other. So to quantity, the lower the
number in an edition, the less chance one has of owning one and assuming a
demand, the more one might have to pay to do so. In an edition one signifies and asserts that no more than some
given number of these print objects will be made. An Artists statement of
edition must then set a definite limit to the size of the edition and offer
this as one guarantee of authenticity.
I
Propose to go stage further in that in the seven-fold Edition proposed below,
seven prints over 3 sizes, the A0 Picture, will be in that singular and
unique, the two at A1 and 4 at A2 can never be confused for it, in this way
it will be known as my unique Art object, the the final and highpoint of the
Working Process, the final and definitive Art act. |
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A
Seven-fold Way |
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Considering these points I propose
here a system for my own Print work that I shall call the Drowning
Standard. This allocates a potential of seven iterations, seven and
only seven prints from the same preparatory drawings or assemblage, at once
or in the course of time. This group
of seven or Septet will comprise three sizes of panel. There
will be one at size A0, that is 841 x 1189mm. There can
then be two at A1, that
is 594 x 841mm and four at A2, that is 420 x 594mm.
These seven are then all 1st edition Prints. Most featured works
in Drowningcircle.com or on Drowningcircle.rom are designed for this Stated
Standard. They will be named respectively A0, A1:1, A1:2,
A2:1, A2:2, A2:3 and A2:4. Each panel in the
edition will be on the same 3mm laminate mount, signed and numbered as
indicated. Any prepared on paper for any reason are to be regarded as merely
reproductions and of no intrinsic value as are the reproductions on this
disc. |
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The
Drowning Standard Seven Edition |
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Four at A2 |
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Two at A1 |
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One at A0 |
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The Drowning Seven fold Edition Grid |
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A Red square Indicating your pictures place in it’s
edition |
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The Drowning Edition grid |
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The A0 - 841 x 1189 mm |
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A1:1 |
A1:2 |
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The two at A1 - 594 x 841 mm |
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A2:1 |
A2:2 |
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And the 4 at A2
- 420 x 594 mm |
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A2:3 |
A2:4 |
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The Next Part of the presentation is the ICV -
The Illustrated or interactive CV this is a visual survey of my life in Art since
1999 My Projects and shows fully linked. |
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