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Talking through drawing—has evolved. The translation of perception into a graphic form has created an expansive vocabulary for the artist. “When working, I am interested in the capacity of “The journals are not areas abstract mark-making to communicate,” says Storey. “To liberate where ideas are developed some kind of raw and primal response, I put myself through emotional experiences, deliberately trying to get into the moment. Extremity produces a lens in which we can see things that we can’t otherwise.
The artist prefers to work in a series and will often tackle several pieces at once, alleviating any downtime during drying sessions. His process, always working from panel to panel, has established a mindset that encourages work in succession. Much of Mew’s art is quite large. He finds working on a grand scale to be both a challenge and a blessing. “It is hard to go from working 11" × 14" (28cm × 36cm) to 4' × 5' (122cm × 152cm). It takes a lot more time and effort. Plus, your body movement, your tools and how you approach the work are all very different.
To get a create a new vitality in painting. Artists who have ventured out- variety of different effects, artists are experimenting with alter- side the constraints of traditional approaches have found more ing the printing base, changing the mediums or pretreating inventive ways of handling space, structure, form and content. the working surface before printing on it. To add decorative Their eagerness to push boundaries has opened up a plethora of accents, custom stamping, woodblock and linoleum printing, new possibilities in picture-making.