Philippa Wall completed her foundation year at UCA Canterbury, before going on to complete her BA in Fine Art at Winchester School of Art, University of Southampton. There she specialised in printmaking which provided the resources to further her experimental approach.
‘Since graduating my work feels as though it has reached a point that I can escalate from. My graduation piece will exhibit again at the BYOBeamer, Glasgow (November 2013) this piece in particular felt so important to my practise and helped define my work for the past four years. Since graduating I have spent my time between different organisations including, The Camden Arts Centre where I volunteered for three months. I am currently in a Print Technician role that doubles as an apprenticeship position learning how to run a professional print studio at the Arches Printmaking Studio, Hastings. I also work with A Level students, working with a particular project based on their curriculum and my own practise.’
“A totality in the process of forming, of producing itself before my eyes, in the immanence of the moment.” Lygia Clark
‘I find the material values of thread both absorbent and immersive. I associate unexpected strength with thread. In some ways its fragility is its strength. I come across a lot of my ideas in the very early hours. The time between sleeping and waking, where my mind is most fragile. My work with thread corresponds well within the realm of print. In particular Photopolymer prints, in regards to the impression the thread has onto the plate. I expose the thread directly onto the plate thus engraving the plates surface with this material which is otherwise so delicate. Its strength is then transported into the life of the print. ‘
‘The relationship between exposure and my work is very important. I have always expressed an interest in photography and especially where photography and print meet. Exposure within art reveals a lot more than the light, I feel that there is a certain element of decision making in how much of the image you choose to reveal. The way exposure and projection collide is often moving, it magnifies elements that a viewer would often bypass entirely. Working within film projection and keeping the printmaking element was very exciting and as the ideas developed my passion and future ideas did also.
Showing the thread exposed in this manner of printmaking was very harsh, allowing the viewer to explore the materialistic components that make up the thread. Showing how this often discredited, weak material, can be strong and highlights the true strength of something that only appears weak.’