Helen Adie
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Helen’s work in theatre, as actor and director, inspires much of her current artistic practice. Her etchings and relief prints attempt to capture something of the charge and energetic pulse on stage - the dramatic tension of movement and stillness - which can ignite both performer and audience. The subject matter lies somewhere between the specific, almost naturalistic, and the representational. An imaginary chorus of characters emerges through various printmaking processes - through bold line, into soft grounds patterned and textured with lace; or through a series of aquatints, reaching for the right play of shadow and light. There is also a girl figure called Um who, like Puck in A Midsummer Night's Dream, can weave magic.
The figures in her work might be dressed, almost like dolls with swatches of material, in a combination of fantastical costumes with Victorian or Elizabethan flourishes - ruffs, fans, crinolines, combined with modern touches like platform shoes. They belong out of time, like theatre characters, processing towards an indeterminate off-stage space, or parading together for comfort. Part of the thrill of printmaking is the gradual moving towards a final image, which seems akin to rehearsing towards a performance.
Helen has exhibited widely including the Master's Etching (curated by Norman Ackroyd), The Bankside Gallery, The Royal Society Overseas League, The Royal Society of British Artists and in the last two years at The Woolwich Contemporary Print Fair.
She is a key holder at Artichoke Print Workshop.
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Helen’s work in theatre, as actor and director, inspires much of her current artistic practice. Her etchings and relief prints attempt to capture something of the charge and energetic pulse on stage - the dramatic tension of movement and stillness - which can ignite both performer and audience. The subject matter lies somewhere between the specific, almost naturalistic, and the representational. An imaginary chorus of characters emerges through various printmaking processes - through bold line, into soft grounds patterned and textured with lace; or through a series of aquatints, reaching for the right play of shadow and light. There is also a girl figure called Um who, like Puck in A Midsummer Night's Dream, can weave magic.
The figures in her work might be dressed, almost like dolls with swatches of material, in a combination of fantastical costumes with Victorian or Elizabethan flourishes - ruffs, fans, crinolines, combined with modern touches like platform shoes. They belong out of time, like theatre characters, processing towards an indeterminate off-stage space, or parading together for comfort. Part of the thrill of printmaking is the gradual moving towards a final image, which seems akin to rehearsing towards a performance.
Helen has exhibited widely including the Master's Etching (curated by Norman Ackroyd), The Bankside Gallery, The Royal Society Overseas League, The Royal Society of British Artists and in the last two years at The Woolwich Contemporary Print Fair.
She is a key holder at Artichoke Print Workshop.
Helen’s work in theatre, as actor and director, inspires much of her current artistic practice. Her etchings and relief prints attempt to capture something of the charge and energetic pulse on stage - the dramatic tension of movement and stillness - which can ignite both performer and audience. The subject matter lies somewhere between the specific, almost naturalistic, and the representational. An imaginary chorus of characters emerges through various printmaking processes - through bold line, into soft grounds patterned and textured with lace; or through a series of aquatints, reaching for the right play of shadow and light. There is also a girl figure called Um who, like Puck in A Midsummer Night's Dream, can weave magic.
The figures in her work might be dressed, almost like dolls with swatches of material, in a combination of fantastical costumes with Victorian or Elizabethan flourishes - ruffs, fans, crinolines, combined with modern touches like platform shoes. They belong out of time, like theatre characters, processing towards an indeterminate off-stage space, or parading together for comfort. Part of the thrill of printmaking is the gradual moving towards a final image, which seems akin to rehearsing towards a performance.
Helen has exhibited widely including the Master's Etching (curated by Norman Ackroyd), The Bankside Gallery, The Royal Society Overseas League, The Royal Society of British Artists and in the last two years at The Woolwich Contemporary Print Fair.
She is a key holder at Artichoke Print Workshop.
