Scratches
ink rubbing in situ, 22 x 32 cm,
2019, Kunstverein Frankfurt
Scratches
ink rubbing in situ, 65 x 65 cm,
2019, Kunstverein Frankfurt
Scratches
ink on paper, 65 x 65 cm
2019, Kunstverein Frankfurt
All Trains part I
ink rubbing in situ, 65 x 130,
2019, Glasgow
All Trains part II
ink rubbing in situ, 65 x 130,
2019, Glasgow
Ink Rubbing on Chinese bronze vessel
ink on paper, 3 x 11 cm,
2018, Glasgow
Garden Gate Foundation Stone
ink rubbing in situ, 31 x 112 cm,
2016, Glasgow
Floorscape in Ink and Encrusted Stains
ink and stains on paper, 325 x 345 cm,
2015, Glasgow
Floorscape in Ink and Encrusted Stains
ink and stains on paper, 325 x 345 cm,
2015, Glasgow
Floorscape in Ink and Encrusted Stains part A1
ink and stains on paper, 65 x 115 cm,
2015, Glasgow
Floorscape in Ink and Encrusted Stains part A4
ink and stains on paper, 65 x 115 cm,
2015, Glasgow
Floorscape in Ink and Encrusted Stains part B3
ink and stains on paper, 65 x 115 cm,
2015, Glasgow
Floorscape in Ink and Encrusted Stains part B4
ink and stains on paper, 65 x 115 cm,
2015, Glasgow
Floorscape in Ink and Encrusted Stains part C5
ink and stains on paper, 65 x 115 cm,
2015, Glasgow
Square Wood A
ink on paper, 33 x 33 cm,
2014, Glasgow
Anvil C
ink on paper, 15 x 86 cm,
2014, Glasgow
Large Worktable
ink on paper, 128 x 61 cm,
2014, Glasgow
Calligraphy rubbing from a stone fragment
ink on paper, 76 x 66 cm,
2009, Hangzhou
Chinese Lacquer Board
ink on paper, 43 x 35 cm,
2008, Fuzhou
A Frog from Wu Yi Shan
ink on paper, 44 x 56 cm,
2007, Dausenau
Safety First
ink on paper, 16.5 x 6 cm,
2007, Fuzhou
The technique of ink rubbing originates from China.It has been a tradition for many centuries to reproduce calligraphies and texts carved in stone steles with ink and paper. The finished rubbing was afterwards mounted on a scroll and collected for study purposes.
Taking this tradition as a starting point for my practice, the surface texture of any object made of stone, wood, clay, brick or metal can be transferred onto paper. The result is an ink rubbing with a complete and authentic rendition of the original surface underneath. The rubbing capturesthe tactile quality of the object with every shade of ink.
First of all, the Chinese paper, especially made for ink rubbings, is wetted and applied to the surface of the object. Tissues and brushes are used to press the paper into the texture of the surface, until all details are covered and the paper starts drying.
After the drying is complete, a dabber, made of cotton wool and covered with silk, is blackened with a few drops of Chinese ink and lightly pressed onto the paper. This is repeated like shading a drawing, but with vertical movements of the dabber, until all the details of the texture underneath are visible.
When the ink is completely dry, the paper with the rubbing can be removed from the object.