Despite being visually impaired, Ian worked as a fine artist for eleven years and exhibited in Glasgow, London, Copenhagen, and recently, in Paris.
He used chalk, oils and clay, but before becoming totally blind, Ian developed his interest in etchings and became a member of the prestigious Glasgow Print Studio.
He used closed-circuit TV technology to allow him to see each part of the image as it was created. As the visual area was only two inches square, he had to keep each part of the overall image in his head, remembering exactly where each part fitted. This is particularly complex when making two or three plate etchings.
Having worked from slides in the past, Ian now created all these etchings from his imagination. They range from traditional images of ruins and waterways in a single pastel shade, to vibrantly coloured sunsets and moonscapes. The images are extremely detailed and offer a three-dimensional quality that enhances the etching process. Many of his rural images have been compared to 18th century bookplates, in terms of depth and detail. The lunar images have a strong contemporary feel.
Ian found etching to be best suited to his detailed, intricate style of working. The prints are limited to 20 and 25 piece editions.
Despite being visually impaired, Ian worked as a fine artist for eleven years and exhibited in Glasgow, London, Copenhagen, and recently, in Paris.
class and style
He used chalk, oils, and clay, but before becoming totally blind, Ian developed his interest in etchings and became a member of the prestigious Glasgow Print Studio.
He used closed-circuit TV technology to allow him to see each part of the image as it was created. As the visual area was only two inches square, he had to keep each part of the overall image in his head, remembering exactly where each part fitted. This is particularly complex when making two or three plate etchings.
Having worked from slides in the past, Ian now created all these etchings from his imagination. They range from traditional images of ruins and waterways in a single pastel shade, to vibrantly coloured sunsets and moonscapes. The images are extremely detailed and offer a three-dimensional quality that enhances the etching process. Many of his rural images have been compared to 18th century bookplates, in terms of depth and detail. The lunar images have a strong contemporary feel.
Ian found etching to be best suited to his detailed, intricate style of working. The prints are limited to 20 and 25 piece editions.
Despite being visually impaired, Ian worked as a fine artist for eleven years and exhibited in Glasgow, London, Copenhagen, and recently, in Paris.
He used chalk, oils, and clay, but before becoming totally blind, Ian developed his interest in etchings and became a member of the prestigious Glasgow Print Studio.
He used closed-circuit TV technology to allow him to see each part of the image as it was created. As the visual area was only two inches square, he had to keep each part of the overall image in his head, remembering exactly where each part fitted. This is particularly complex when making two or three plate etchings.
Having worked from slides in the past, Ian now created all these etchings from his imagination. They range from traditional images of ruins and waterways in a single pastel shade, to vibrantly coloured sunsets and moonscapes. The images are extremely detailed and offer a three-dimensional quality that enhances the etching process. Many of his rural images have been compared to 18th century bookplates, in terms of depth and detail. The lunar images have a strong contemporary feel.
Ian found etching to be best suited to his detailed, intricate style of working. The prints are limited to 20 and 25 piece editions.