A look at the work of Leeds printmaker Janis Goodman
PUBLISHED: 18:13 17 July 2012 | UPDATED: 21:38 20 February 2013
This month we showcase the work of Leeds printmaker Janis Goodman
I came to etching through an evening class at Leeds College of Art and Design. Etching appealed to me from the start; it is the mixture of control and chance that I find compelling. The final print is never quite as intended. Etching involves much careful thought and action - composing an image, reversing it and drawing through the wax onto a copper plate.
All of these processes tend to improve and refine the original impulse.
Elements of chance and serendipity the quality of the ground, the strength of the ferric chloride and the density of an aquatint come into play to prevent the work from being too neat and controlled. Some prints are ruined and others have an edge, which cannot be anticipated.
There are some common themes in my work. My pictures tend to contain small narratives; illustrations in which different elements meet and interact. The choice of subject matter is often visceral.
I get a particular sensation that this is the view, the collection of shapes, which feels right and which I wish to reassemble into an etching.
My prints contain a lot of repetitive patterns which are suddenly interrupted. I like combining the manmade with the organic. I particularly enjoy working on locations where nature is taking back the built environment, a process I find strangely comforting.
My compositions tend to include a view wider than can really be viewed in a single glance; trying to illustrate a sideways glance at the world.
I have always hoped to avoid work that feels too sentimental. Most of my prints contain perspectives I know well, either where I live in Leeds or places I visit often. I enjoy the act of repetition, I can get great pleasure and satisfaction from doing something again and again but I also like to stop and reconfigure.
See more of Janiss work at janisgoodman.co.uk