Ismail Ucci
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Printmaking is the foundation to his art. He has always thought the world around him is full of variety and that should be reflected in his art and it’s crucial that’s the way he sees his work, constantly changing and full of variety because nature is constantly changing. He still remembers when he was growing up his mother found him to be observing and sketching from stash of secondhand artist’s books, which he purchased from his pocket money on trips to the local car boot sale. He is passionate about printmaking as it gives him the window to his soul. It gradually instilled a seed in him to grow and be curious and to try different ways of approaching printmaking. It began as an act of self-discipline exercising mind and eye which later became an emotional necessity to the degree that printmaking came to form the basis of his art. He has learnt a distinct style of mark-making through drawing. This is formed by taking up short courses at the Royal Drawing school to become familiar with possibilities of the drawing and printmaking. He explore by making marks using various techniques to an extent with a different level of intensity. He sometimes stand back and observe what he has drawn and surely agree with his sense that he couldn’t set out to get such an effect. It was something that happened while he was printing, almost as if the ink did it on its own as he moved it about. This is why he feels real printmaking is a mysterious and continuous struggle with chance. He believes that when he prints chance lies at the heart of the matter, both in the sense of luck good and bad as well of the creative potential of sheer randomness. The variety of subject matter in his prints indicates how he aim to engage more directly with the past. His addiction to the art of the past is crucially important in his development as an artist, because it becomes a contributing factor to the way he interpret the present. He exploit a very particular way of achieving marks.
Quantity:
Printmaking is the foundation to his art. He has always thought the world around him is full of variety and that should be reflected in his art and it’s crucial that’s the way he sees his work, constantly changing and full of variety because nature is constantly changing. He still remembers when he was growing up his mother found him to be observing and sketching from stash of secondhand artist’s books, which he purchased from his pocket money on trips to the local car boot sale. He is passionate about printmaking as it gives him the window to his soul. It gradually instilled a seed in him to grow and be curious and to try different ways of approaching printmaking. It began as an act of self-discipline exercising mind and eye which later became an emotional necessity to the degree that printmaking came to form the basis of his art. He has learnt a distinct style of mark-making through drawing. This is formed by taking up short courses at the Royal Drawing school to become familiar with possibilities of the drawing and printmaking. He explore by making marks using various techniques to an extent with a different level of intensity. He sometimes stand back and observe what he has drawn and surely agree with his sense that he couldn’t set out to get such an effect. It was something that happened while he was printing, almost as if the ink did it on its own as he moved it about. This is why he feels real printmaking is a mysterious and continuous struggle with chance. He believes that when he prints chance lies at the heart of the matter, both in the sense of luck good and bad as well of the creative potential of sheer randomness. The variety of subject matter in his prints indicates how he aim to engage more directly with the past. His addiction to the art of the past is crucially important in his development as an artist, because it becomes a contributing factor to the way he interpret the present. He exploit a very particular way of achieving marks.
Printmaking is the foundation to his art. He has always thought the world around him is full of variety and that should be reflected in his art and it’s crucial that’s the way he sees his work, constantly changing and full of variety because nature is constantly changing. He still remembers when he was growing up his mother found him to be observing and sketching from stash of secondhand artist’s books, which he purchased from his pocket money on trips to the local car boot sale. He is passionate about printmaking as it gives him the window to his soul. It gradually instilled a seed in him to grow and be curious and to try different ways of approaching printmaking. It began as an act of self-discipline exercising mind and eye which later became an emotional necessity to the degree that printmaking came to form the basis of his art. He has learnt a distinct style of mark-making through drawing. This is formed by taking up short courses at the Royal Drawing school to become familiar with possibilities of the drawing and printmaking. He explore by making marks using various techniques to an extent with a different level of intensity. He sometimes stand back and observe what he has drawn and surely agree with his sense that he couldn’t set out to get such an effect. It was something that happened while he was printing, almost as if the ink did it on its own as he moved it about. This is why he feels real printmaking is a mysterious and continuous struggle with chance. He believes that when he prints chance lies at the heart of the matter, both in the sense of luck good and bad as well of the creative potential of sheer randomness. The variety of subject matter in his prints indicates how he aim to engage more directly with the past. His addiction to the art of the past is crucially important in his development as an artist, because it becomes a contributing factor to the way he interpret the present. He exploit a very particular way of achieving marks.
