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Cliff Holden
What a painter has to do is not to recognise either the object or the image but to recognise the kind of sensation that has produced the image.
One of the major problems in painting is that after the first marks, which split the canvas and which form the first elements within a simple space, the space relations then become more complicated and sophisticated; thus a series of elements come together to form a unique image which the painter has difficulty in recognising. Not only is one unaware of its significance, but also one is often shocked, so that what has been created is quickly destroyed in favour of a known cliché without import. Thus vital images are lost because a created image is difficult to recognize.
In 1952 I was introduced to silk-screen. Here was a medium through which one had the capability and the possibility of manipulating and preserving images that tend to get lost in the process of painting. I began to experiment with the screens, not only making one-off proofs but released the screens from their static reproductive role and evolved what I call, for want of a better word “action printing”.
What a painter has to do is not to recognise either the object or the image but to recognise the kind of sensation that has produced the image.
One of the major problems in painting is that after the first marks, which split the canvas and which form the first elements within a simple space, the space relations then become more complicated and sophisticated; thus a series of elements come together to form a unique image which the painter has difficulty in recognising. Not only is one unaware of its significance, but also one is often shocked, so that what has been created is quickly destroyed in favour of a known cliché without import. Thus vital images are lost because a created image is difficult to recognize.
In 1952 I was introduced to silk-screen. Here was a medium through which one had the capability and the possibility of manipulating and preserving images that tend to get lost in the process of painting. I began to experiment with the screens, not only making one-off proofs but released the screens from their static reproductive role and evolved what I call, for want of a better word “action printing”.
 'Self Portrait' Acrylic on board |
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 'Self portrait' Charcoal on paper |