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Pamela Clarkson

As a painter/printmaker I find the two disciplines similar yet distinct. In the rapid act of painting nascent ideas are frequently transformed; this may be not be so in printmaking. When making prints there is an expectation that process can suspend, or divert, the flow of development and resolution. Conversely process permits the unexpected to be held, kept faith with, and exploited.
The six linocuts (part of a suite of twelve, six by Atta Kwami) were made in response to a collection of African combs in Cambridge (dating from 4,000 B.C.) Austere configurations of combs were printed over flat areas of colour that had been printed from custom-packed blocks of linoleum, and linoleum waste. Limitations of time, and the medium itself, led to unexpected juxtapositions of under layers and over layers.

Manchester College of Art, Manchester, UK, 1963-64.
Central School of Art & Design, London, 1964-67.
Royal College of Art, London, 1967-70.
University of Chile, Santiago Chile, 1973-74
Research Assistant in Autographic Printmaking, Wolverhampton Polytechnic, 1975-78.

See more of Pamela’s work on her website