Island Landscapes III
‘Island Landscapes III’ by Ooloosie Saila – Inuit Art – Cape Dorset 2020 Spring print collection presented by DaVic Gallery of Native Canadian Arts.
Condition: No condition noted.
Description by Artist: No description by artist found.
Notes from DaVic Gallery: This is the third of three very unique and striking images by Ooloosie Saila were produced using a combination of sugar lift and white ground etching techniques.
To order the full set of these three prints and with matching print number, visit: Island Landscapes I, II, and III (collection)
The collection of three includes:
Traditional sugar lift consists of a liquid sugar, gum Arabic and black ink or gouache. The medium is usually brushed onto the plate to create a painterly effect and then the image is allowed to dry. It is then overlaid with varnish and submerged in a bath of hot water. The sugar based medium dissolves, exposing the painted areas that can then be etched.
In place of the traditional sugar lift medium the printmakers at Studio PM introduced an acrylic block out and combined this method with a white ground resist. In these three etchings, Ooloosie has applied the faux sugar lift solution on to the plate by squeezing the medium through a plastic bottle to create lyrical, free flow lines. She then applied the white ground, a mixture of soap flakes, linseed oil and water using a variety of methods – brushes, sticks, even her fingers. The result is a trio of etchings with many variations of lines, textures and tones giving these landscapes tremendous impact and energy. – from Dorset Fine Arts, Ooloosie Saila Island Landscapes.
The prints in this collection are truly amazing, and these etchings really stand out from most of Ooloosie’s other prints (and other Dorset prints, for that matter), which are mainly lithos and stonecuts. These prints exemplify Ooloosie’s development as an artist, as she got to experiment with and push the boundaries of the medium while still displaying her signature style. There is a lot of movement in these designs, and because she drew and finger-painted on the etching plates herself, the lines are very bold and lively, yet still allowing for a lot of tonal variation. This allows to grasp her intention more so than when her drawings are translated to lithos or stonecuts; in a way, they are more personal due to how involved she was in the process.
Please read more about the process behind these pieces here.
The blank sheet of letter-size (8.5” x 11”) paper covering part of the image in the last picture is for size reference.
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