An interview with LPW Artist Bev Goodrich
LPW Artist Bev Goodrich joined LPW in 2010, after taking part in our Introduction to Print course.
Tell us a little bit about the work in the Screenprints exhibition.
The first Market print was a rough and ready screenprint of tomatoes which I submitted to LPW’S Passion To Print exhibition in 2014, just before LPW moved to the Cultural Quarter. The call for entries encouraged artists to think about making site-specific and site-inspired work. The discovery of a photograph on the internet of the doors of Leicester’s Wholesale Fruit & Vegetable warehouse on Halford Street, complete with arts and crafts terracotta mermaids confirmed to me that I was on the right track.
What are you inspired by?
I love colour and I am inspired by the vibrancy and buzz around Leicester Market, where we shop. Friday fish is the best dinner of the week! I’m also inspired by all things botanical and love to get absorbed in drawing (and eating) my still lifes.
What is your favourite thing about screenprinting?
I screenprint using hand-cut stencils taken from drawings in my sketch book. The process distils the image and I can’t get bogged down in detail. If it falls off, so be it. Screenprinting in this way is predictably unreliable, fast and furious in the making. So what’s not to like?
What other techniques, ( printmaking and otherwise ) do you use to make your work?
Earlier this year I volunteered to help LPW Artist Sue Rowland bits of her epic Myriorama for Nottinghamshire in Lino. I soon realised it was the cut line, the one that cannot be drawn or painted that I liked so much. I went on to make my own linocut of the Wholesale Market doors and discovered the joy of using LPW’s presses.
Why is it so important to make prints as part of your practice?
I have spent years drawing and painting, agonising over unimportant details and driving myself mad. I rarely finished a painting to my satisfaction and was never confident to exhibit. Through printmaking workshops, the best ones attended at LPW, I discovered drawings could be adapted to printing techniques and with a little practice my skills steadily improved.
Printmaking used to play second fiddle to Fine Art, which is a shame because printmaking is an art in itself. It can enhance the way you see things, not to mention your output.
I still rely heavily on drawing, this process takes the longest by far, but the drawings do not have the impact of a hand-cut, printed image.
Why is it important for you to make work alongside other artists ( i.e. In the LPW Studio)?
Other artists and LPW members who share your thoughts, disasters and triumphs are a joy to work with. We help each other, share our experiences, offer advice and know when to keep quiet. Importantly we inspire one another. We all need that.
What work are you making at the moment?
At present I am trying to hem a blanket for my new grandson and knit a cable stitch, tunic type thing for his sister. Christmas is coming and I have done nothing. I am a useless grandmother. Need to get inspired to cheer up an increasingly neglected house too.
What’s new/ coming up?
Seriously though, the Market theme will continue to inspire me, because basically I am greedy and like good food. I will strive to get better at figure drawing – body parts interest me (within reason) and always with the permission of the owner. I am increasingly interested in the printed and written word. They have such power. Please watch this space!