Marc Jennings | Twilight's Last Gleaming, 2017
Monotype
Media Dimensions: 59 x 79 cm
Image Dimensions: 59 x 79 cm
Unique Work
Framed only
Marc works mainly in monotype. As each piece is made in a single day, his approach relies on being intuitive and reductive rather than labouring the trace of the hand. Making work in this way encourages him to be more ruthless in his mark-making and concentrated in his approach. The works are made on steel sheets using etching and lithographic inks and oil paint. He works on a number of themes simultaneously, developing each theme into a series of related artworks. Once he begins to work on a series, the images tend to develop organically. He uses photographic sources ranging from tabloid fodder, snapshots of his own, scenes from films to scientific journals. These act as a starting point from which to begin an image, catalysed by circumstance; a conversation, a triggered memory or an all ready existing image. He often confronts difficult, complex subject matter and is aware that he can be both attracted and repelled by such themes, allowing his audience to realise that they too have these complex reactions. His overall objective is to create images that live and retain a pulse – not inert or complete or perfect. His recent images are as much influenced by the 1970’s cult film ‘The Wickerman’ as the novels of Cormac McCarthy or the music of Tom Waits; a sulphurous hinterland populated by a dubious cast, caught between ritual practice and the exercise of free will. Compass points with skewed bearings. Marc attended Duncan of Jordanstone College of Art from 1998-1992 where he gained a First Class Honours in Fine Art. On graduating he won the Miller Homes ‘Young Scottish Artist of the Year’ Award, a one year scholarship in Paris. He has exhibited in the UK and Europe. He shows with Glasgow Print Studio and The Arusha Gallery. He won the Painter/Printmaker prize at the RE monoprint show in 2017.
Monotype
Media Dimensions: 59 x 79 cm
Image Dimensions: 59 x 79 cm
Unique Work
Framed only
Marc works mainly in monotype. As each piece is made in a single day, his approach relies on being intuitive and reductive rather than labouring the trace of the hand. Making work in this way encourages him to be more ruthless in his mark-making and concentrated in his approach. The works are made on steel sheets using etching and lithographic inks and oil paint. He works on a number of themes simultaneously, developing each theme into a series of related artworks. Once he begins to work on a series, the images tend to develop organically. He uses photographic sources ranging from tabloid fodder, snapshots of his own, scenes from films to scientific journals. These act as a starting point from which to begin an image, catalysed by circumstance; a conversation, a triggered memory or an all ready existing image. He often confronts difficult, complex subject matter and is aware that he can be both attracted and repelled by such themes, allowing his audience to realise that they too have these complex reactions. His overall objective is to create images that live and retain a pulse – not inert or complete or perfect. His recent images are as much influenced by the 1970’s cult film ‘The Wickerman’ as the novels of Cormac McCarthy or the music of Tom Waits; a sulphurous hinterland populated by a dubious cast, caught between ritual practice and the exercise of free will. Compass points with skewed bearings. Marc attended Duncan of Jordanstone College of Art from 1998-1992 where he gained a First Class Honours in Fine Art. On graduating he won the Miller Homes ‘Young Scottish Artist of the Year’ Award, a one year scholarship in Paris. He has exhibited in the UK and Europe. He shows with Glasgow Print Studio and The Arusha Gallery. He won the Painter/Printmaker prize at the RE monoprint show in 2017.
Monotype
Media Dimensions: 59 x 79 cm
Image Dimensions: 59 x 79 cm
Unique Work
Framed only
Marc works mainly in monotype. As each piece is made in a single day, his approach relies on being intuitive and reductive rather than labouring the trace of the hand. Making work in this way encourages him to be more ruthless in his mark-making and concentrated in his approach. The works are made on steel sheets using etching and lithographic inks and oil paint. He works on a number of themes simultaneously, developing each theme into a series of related artworks. Once he begins to work on a series, the images tend to develop organically. He uses photographic sources ranging from tabloid fodder, snapshots of his own, scenes from films to scientific journals. These act as a starting point from which to begin an image, catalysed by circumstance; a conversation, a triggered memory or an all ready existing image. He often confronts difficult, complex subject matter and is aware that he can be both attracted and repelled by such themes, allowing his audience to realise that they too have these complex reactions. His overall objective is to create images that live and retain a pulse – not inert or complete or perfect. His recent images are as much influenced by the 1970’s cult film ‘The Wickerman’ as the novels of Cormac McCarthy or the music of Tom Waits; a sulphurous hinterland populated by a dubious cast, caught between ritual practice and the exercise of free will. Compass points with skewed bearings. Marc attended Duncan of Jordanstone College of Art from 1998-1992 where he gained a First Class Honours in Fine Art. On graduating he won the Miller Homes ‘Young Scottish Artist of the Year’ Award, a one year scholarship in Paris. He has exhibited in the UK and Europe. He shows with Glasgow Print Studio and The Arusha Gallery. He won the Painter/Printmaker prize at the RE monoprint show in 2017.
