Lot 193

There is surface dirt and minor marks to the facade, and substantial dirt aroudn the edges of the canvas.


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Having found that her mark-making on the copper plates had become so forceful, so sculptural, that she was no longer able to realise her artistic intent by printing on paper, Westcott investigated other materials. "Initially I turned to encaustic wax as a way of strengthening the paper I was using", she explains. "The wax helped transfer the texture created in the plate onto the paper. It enriched the colour, and mixing Interference pigments with the wax base helped create a new depth in the work." But eventually her way of working proved too powerful even for the encaustic-strengthened paper, and working on canvas became the only solution. For Red Ice, a copper plate was grinded to the point of sculptural relief and then inked and printed onto a painted, encaustic canvas through a printing press.