The artist Bernhard Cociacing visited us for the fourth time, staying for four weeks during the month of October. His friendship and loyalty towards our studio are reciprocated. This year, Bernhard had informed me in advance of his intention to work with photopolymer, particularly photopolymer film, aware of my previous experience with these processes. I first encountered this technique in 2005 under the guidance of Paco Mora at El Jardinico, a workshop in Caravaca de la Cruz, Murcia. Later, in 2012, I conducted two workshops on solar plate/photopolymer printing at the Fundación Mapfre facilities in Las Palmas de Gran Canaria and La Laguna (Tenerife).
Before his arrival, I mentioned that the photopolymer films I had in my studio were several years old and likely not in optimal condition. Bernhard replied that he would bring his own materials. We began working with the brands I had —Puretch and Riston— but found them in very poor condition and no longer light-sensitive. The films Bernhard brought —Mongoulux and Fototec— were more recent, though still two or three years old. We conducted tests with them as well, but the results were also unsatisfactory. We also tried to make some transfers using BIG etching ground.
I must admit that the experience was somewhat frustrating. On one hand, I confirmed that the materials stored in the studio were no longer usable —a pity, considering the cost and difficulty of transporting supplies to the Canary Islands. On the other hand, the plates Bernhard brought did not yield the expected results either. I sincerely appreciate his patience, good humor, and professionalism in the face of these repeated setbacks. This experience has taught me that I was overly confident and should have anticipated the need to acquire fresh emulsions and films in advance. My apologies, Mr. Cociacing.
Fortunately, the visit was rewarding in other ways. Thanks to Bernhard’s generosity, we were able to offer fourteen printmakers affiliated with the Cabildo’s printmaking workshop a shared session on the use of BIG varnish, a highly versatile medium that we both regularly use. For many of the participants, who were unfamiliar with this varnish, it proved to be a significant technical discovery.
We live in a period especially conducive to the exchange and updating of knowledge. The opportunities provided by the internet allow printmakers to access innovations that are highly valuable for their practice.
Pictures from the workshop and etchings
Bernhard Cociancig speaks about his experience in the workshop-residency
Being this my fourth residency at the studio and home of Amparo and Alfonso, not much time was required to find my ways around the studio and apartment! As always, I have been warmly welcomed by the hosts including their family being Sarah, Helios, Nehru and Suria. This time, my goal and objective was to get the hang of the photopolymer process: some basic attempts have already been made back home, but I hoped to get some more insight with Alfonso's support and knowledge. Aside from the photopolymer film I had brought wit's me, there were some „leftovers“ from years past, however, it was uncertain, whether these have stood the test of time. Aside from that, these were products from four different supplier and although the process itself was essentially deemed identical, exposure and development times for the individual makes were possibly different. So, first days were spent to assess the workability of the available films – and as anticipated, we were able to eliminate some of the films which were unusable due to their age. In addition, the preparation of the transparencies, exposure and development times had to be aligned with the different products. By trial-and-error as well as step tests, eventually halfway satisfactory results have been achieved. A further approach was using liquid polymer: but low and behold, the polymer in Alfonso's storage proofed a bit too old and did just not work any more. Fortunately, a printmaking friend in Las Palmas still had some in store which we were glad to receive as a gift: my thanks Julio Sanchez for his generosity! So off we went to apply the „wet“ polymer technique, however, due to a limited amount of material, the number of attempts was restricted. The supply of art materials on the Canary Islands poses a distinct restriction and nuisance for printmakers – what you don't wheel in yourself, you just can't get for love or good money. The reason for that is the peculiar tax system on the islands with a lower VAT compared to the EU countries, reportedly to support local consumers. Hence, imports are essentially treated as if they would come from outside the EU – and many (if not all) suppliers in the EU including the Spanish mainland just do not want to provide individuals with materials for reasons of complexity but also the protectionism for local vendors... something to keep in mind for future residents and residencies.
During my stay, I was also given the honour to demonstrate to fourteen local interested printmakers the versatility of the BIG (Baldwin Intaglio Ground) during a 2-day workshop in the Cabildo's facilities. Alfonso and I were able to show the soft ground, hard ground and icing sugar aquatint methods and it can be said, that the ensuing results could convince the workshop participants. This was also a great opportunity to meet again many of the artists, which had attended last year's Mokulito workshop. Here again, a great thank you to Ana de La Puente Arrate for the warm welcome and support in her studio.
All in all, again a great time on Gran Canaria and with the Crujeras – muchos gracias and forte abrazos!