There is a back log apparently down in wood work so no board as yet to start the painting. Today however I mastered - eventually - the software shenanigans required to get my scanned drawings to Repro to prepare for the screen. I am quite excited about it now. Cannot wait until Friday which is when I am booked in.

Post - script - got in to the printing workshop and managed to get a lot of printing completed in a very short time! Whew! These larger screens are difficult to manipulate but it is very important to do so as the consequences of damage - well not worth thinking about really.

I worked on Japanese paper which was tricky initially as it was so light that if the paper did not match up with the suction part completely it tended to drift. That was taken care of by taping down the corners.

I used the Peploe colours as I knew they were good and strong. Perhaps this was a mistake - too much purple! Hey ho - big learning curve. The Japanese paper was chosen as Joan Smith had recommended it in terms of collage work. It does taper at the ends when torn so does not create too big an edge.

I thought it would be a good idea to reflect on what it means to be part of studio life in ECA. The studio is a good source of creative energy and it is always good to deflect from my own practice to see what is going on with everyone else. Studio life can also be rather tense given that it is shared space and work ethics can clash.

The official opening was on the Wednesday. 4th Year Sculpure were installing their work for their opening the next day. On the top level, there was a Photography exhibition too. It made for a very interesting space.

I had hoped to have the lamps above the installation working, but alas they were not wired up! To the right of my piece were three stills by Violetta - the colours and shapes worked well with 'Fragmentation'. I had chosem my location with care but it was difficult to see it as part of the whole really because of the location. Further down the corridor facing the work, were other strong pieces. The big blue piece in the foreground is Emma Kesley's.