In the good company of horses, archers and artists this year's HARP residency lead to lively and diverse art production. In the first few days all electronical devices mysteriously decided to die and caused the transition from digital to analog photography, and drawing from photos to live models; back to the roots. With the emphasis on the etching technique I had an opportunity to get acquainted with this processual technique, managed to make all the beginner’s mistakes possible and burned practically the whole plate. The rescue turned out to be a very educational challenge, opening a lot of new possibilities and combinations.

„Herd“, 2017, digital photography

„Bareback“, 2017, digital photography

„Demonstration“, 2017, digital photography, sequence

„Centaur“, 2017, ink sketch

„Marton on Zselyke by the Target“, 2017, Polaroid photography

Progress on the copper plate etching

Prints line

First artist’s proof of overly etched plate

Saving the plate, second artist’s proof. (The outlines are becoming visible!)

Third shot. Success!

Experimenting with blue No. 1

Experimenting with blue No. 2

Painter's approach to printing

„Beata in Zsanka“, 2017, Polaroid photography

„Balance“, 2017, Polaroid photography

“Bese”, 2017, ink sketch

“Approaching Storm”, 2017, digital photography

“Arabelle in the Fields”, 2017, digital photography

„Louisa & Liz“, 2017, Polaroid photography

Live sketch on the zinc plate

“Korektura”, 2017, drypoint print

Variations with the Chine Collé technique

“Golden Zselyke”, 2017, drypoint and Chine Collé

“Belle”, 2017, Polaroid photography

“The Matrix Cleaning”, 2017, digital photography

“The Hungarian Centaur”, 2017, etching and Chine Collé

„The Last Visit of the Herd“ or „Bese Finds the Antler“, 2017, digital photography

Playing with the paint application on the matrix

“Bese Finds the Antler”, 2017, drypoint

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