Paul Hogg
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To Paul Hogg making a print is first and foremost about formal considerations: colour, tone within colour, spacial relationships, surface appearance and composition, and within his work he seeks to orchestrate these elements to achieve harmony and balance. Starting points for works can be traced back to a distinct and resonating memory of what the artist has noticed within a landscape. Once he has recognised something that might constitute a significant motif he develops the image towards a resolved state suitable for printing through small compositional sketches and more finished drawings. During the printmaking process, through manipulation of the thickness of the ink, through the use of different papers and through varying the pressure when hand-printing, Paul creates a vibrant surface that has a consequential influence on the look of the completed work.
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To Paul Hogg making a print is first and foremost about formal considerations: colour, tone within colour, spacial relationships, surface appearance and composition, and within his work he seeks to orchestrate these elements to achieve harmony and balance. Starting points for works can be traced back to a distinct and resonating memory of what the artist has noticed within a landscape. Once he has recognised something that might constitute a significant motif he develops the image towards a resolved state suitable for printing through small compositional sketches and more finished drawings. During the printmaking process, through manipulation of the thickness of the ink, through the use of different papers and through varying the pressure when hand-printing, Paul creates a vibrant surface that has a consequential influence on the look of the completed work.
To Paul Hogg making a print is first and foremost about formal considerations: colour, tone within colour, spacial relationships, surface appearance and composition, and within his work he seeks to orchestrate these elements to achieve harmony and balance. Starting points for works can be traced back to a distinct and resonating memory of what the artist has noticed within a landscape. Once he has recognised something that might constitute a significant motif he develops the image towards a resolved state suitable for printing through small compositional sketches and more finished drawings. During the printmaking process, through manipulation of the thickness of the ink, through the use of different papers and through varying the pressure when hand-printing, Paul creates a vibrant surface that has a consequential influence on the look of the completed work.
