John Mackechnie MBE RSA – Director – Glasgow Print Studio speaks concerning the exhibition by Wilhelmina Barns-Graham : Portray & Printing, 1990-2004
Glasgow Print Studio
Exhibition runs: 05 August – 01 October 2022
Glasgow Print Studio is delighted to current an exhibition of work and
prints by the late Wilhelmina Barns-Graham.
Wilhelmina Barns-Graham (1912 – 2004) was firstly a painter, however she made prints
all through her working life, making an attempt many various strategies comparable to etching, linocut, lithography and
screenprinting. All her printed prints had been made in collaboration with grasp printmakers. Their
technical experience was important, enabling her to translate her approach of working into a distinct medium.
Barns-Graham was born in St Andrews in 1912, and studied at Edinburgh School of Artwork from 1931 to
1937. She settled in St Ives in Cornwall in 1940, the place she discovered a well-established creative
group, which was additionally starting to draw a brand new technology of artists, comparable to Ben Nicholson
and Barbara Hepworth. For the subsequent sixty years she lived and labored in St Ives. Nonetheless, in 1960
she inherited Balmungo, a home on the sting of St Andrews, and after that she spent part of each
12 months in Scotland, affirming herself as a Scottish artist as a lot as a Cornish one.
Over the past 10 or so years of her lengthy creative profession, printmaking turned a central a part of
Barns-Graham’s follow, significantly after 1998 when she started working with Graal Press, Roslin,
close to Edinburgh. Earlier prints comparable to a gaggle of screenprints made with Kip Gresham at Curwen
Studio in 1991 and three etchings she made with Rachel Kantaris in St Ives in 1996 had been typically based mostly
on present unique works. She was inspired by the profitable approach by which her photos could possibly be
translated into print kind, and intrigued by the probabilities for making unique works on this medium.
Later, working with Graal Press’s Carol Robertson on a collection of over 60 screenprints, these had been
principally fully unique – envisaged and made purely as prints – although a dialog with ongoing
portray collection was typically maintained.
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