Page 10 - Art First: Kate McCrickard: New Romantics
P. 10

CC           Do you find the decisive mark-making, where no mistake can be
                       tolerated that print-making involves, makes for a very different pictorial
                       treatment from oil painting, where you can ‘cancel’ figures or sections
                       of the canvas by simply over-painting them to make the changes you

               KMcC    Very much so. I’m just working on a new series of large drypoints
                       withthe Paris-based master printer, Michael Woolworth. You can mute
                       the line gouged into the copper, by flattening the barbs it throws up—
                       giving those rich blacks—but you can’t get rid of it without hours of
                       polishing and burnishing. I like the pentimenti such corrections leave
                       on the plate, but one has to be very careful, unlike in painting where
                       anything goes—my older paintings have multiple ‘ghosts’ underneath
                       the final image, failed images that I just painted over. You can’t do that
                       with copper, let alone monotype. It’s very useful to have such
                       restrictions and limits.

               CC           Your move from the small-scale work, which we exhibited in 2014
                       and 2016, to canvases over one and a half metres in size has intro -
                       duced all sorts of new developments, especially a gorgeous palette.
                       The chromatic scales move from subdued moods to a heightened
                       acidic range like that in Gluttons, Feasting, and Knight and the Devil
                       at the Bar. Does the subject matter ever dictate your palette?

               KMcC    I would say that the recent palette of brighter, more acidic, colours
                       was as much dictated by Pontormo’s near-fluorescent, startling, flesh
                       tones seen in the Deposition in the church of Santa Felicita, Florence,
                       that I drew in front of as a student. I wanted to key up the palette
                       and this did fall into place with a shift in subject matter. I was relying
                       too heavily on a painted black line that I would lay down to register
                       a compo sition and wanted to consciously get away from that. But
                       I also think it is linked to working from the imagination and being
                       less tethered to real life. Paris can look quite grey. Why can’t his arm

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