birdsong studio work

Whilst working on concrete ideas such as the walk piece in Le cruse – Pellevoisn I have also been trying out putting together different techniques to make a wall of small drawings or prints possibly together. These bird sounds are often high in pitch but also have depth of sound and intensity. So i have been visual playing around with how i might show the work in a gallery space.


Woodcut 1.20m x 70 cm printed on Kozo and backed onto wood panel with fluorescent paint This piece is just a fragment of what I hope to be a series of nightingale song strophes – recorded last year on April 17 . By using chinese ink to transfer the song strophe the wood changes the flow of the ink and these inconsistencies I have cut into the image. The bottom


25 min walk with 12 stops and short recordings. This 2 plate etching on copper is of about 14 seconds of ones stop . This wood had an incredible number of bird activity – I have counted about 11 in this sequence alone. This recording was made in Le creuse a very remote area of central france. Work in progress – looking at making all of the stops into etchings.

Birdsong colour

Pitch and colour of song ? How should I use colour within the woodcuts of the songs?… In a sense I need again to order or structure the colour – as every element is already being pulled apart within these songs in order to make them. It seems to me that the pitch of most of the birdsongs are all at a similar level so far..which in a sonogram is

Birdsong prints

birdsong and Syntax Having watched and done more research on the individual elements of birdsong I came across Noam Chomsky the American philosopher and linguist and a diagram comparing grammar in languages and birdsong . What was interesting was the attempt at analysing the recurrence of elements within the songs in the same way as human language is ordered and whether they were repeated into ‘sentences’ that were then used by

birdsong woodcuts

sonogram woodcuts. The transformation of what I was seeing on the computer and how to translate that in the studio ? I felt that the surface of these songs were somehow important, the time in these songs were intrinsic. So I have begun to make woodcuts of elements of them the idea being to be able to have a kind of Alphabet of birdsong that could be repeated and re

birdsong sonograms

Sonograms I began by trying to record birdsong in the filed visually with a note book. The composer Messiaen – catalogue d’oiseux uses a bird for each section. This i found interesting as he went out into nature and would also make notes then translate them back into music. A problem is that you parade the melody and that for me it sounded quite harsh in relation to real birdsong.


Birdsong For quite some time now I have been interested in using notions of invisibility in my work and that has lead me to use braille in pieces for about the last 4 years. In April 2019 I began recording birdsong – particularly Nightingales which migrate from Africa to this region of France. The first recoding I made was on April 14 2019. These recordings were simply made on my

woolwich print fair editions

Us and Them /etching white on black paper /Woolwich print fair 2019 edition of 25 £120 27cm x 20 cm Watching the Water etching on Zerkall white/ edition of 20 in Blue/ contact Woolwich print editions to purchase. These are a small edition made in 2019 with the title punched in braille through the image and fluorescent paper attached behind with rice glue. There may be slight variations in these

Using Rubbish

My recent efforts in the studio have been around using rubbish. Traces, footprint and re evaluation as a resource . I look on it as a kind of technical studio exercise to push what I have to its maximum … not always through the press but often the pressure of the press squeezes the material into something else. and it is this transformation that I’m interested in. So far i’ve