Please note: this piece is presented in an ex-display black box frame at 50% off the standard frame price — £76 rather than £153. The frame may have minor marks...
Please note: this piece is presented in an ex-display black box frame at 50% off the standard frame price — £76 rather than £153. The frame may have minor marks or imperfections from display use. The artwork itself (£375) is unaffected. If you have questions about the frame condition before purchasing, contact Print Club London directly.
The combination of cyanotype and 24ct gold leaf is among the most materially striking in Craig Keenan's practice — the cyanotype's deep cobalt blue and the gold leaf's warm reflectivity working against each other in a way that makes both more vivid. The black box frame means the artwork doesn't touch the perspex, preserving the surface of the gold leaf and the cyanotype. Handmade by the artist, hand-finished with gold leaf after development. The artwork is framed at the price shown with the 50% frame reduction applied. £451 total (artwork £375, frame £76).
ABOUT THE ARTIST
Craig Keenan
I’m printmaker specializing in cyanotypes. While I teach screenprinting and produce work for people via that medium – I always fall back on cyanotypes as being my primary creative output. My favourite thing in the world is listening to good music and just being creative in some form or another. It’s peaceful, meditative and a deep compulsion.
I absolutely love the depth and richness of colour that the cyanotype process produces, as well as the gestural brush strokes and mark making. The fact that they sit somewhere between painting, photography and printmaking is why I love the process.
I enjoy constraints within creativity – a blank canvas and infinite possibility can be a daunting prospect, so being tied to say, a specific colour, is actually quite freeing.
I spend a lot of time painting abstract pieces – it’s basically meditation through mark making, but it’s nothing I’d be proud enough to put into the public eye – but this definitely informs the work I produce. I actually make lots of different things, from abstract painting to collage to screenprints to illustrations and typographic work. But I always find solace in cyanotyping – it hits all the right notes for me creatively – it’s digital and analogue, painterly and expressive. It’s also slightly unpredictable.
