Hannah Waterfield

 

 

 

 

 

 

 

 

 

 

 

 

I seek new perspectives on artists’ limited

editions and multiples.

 

As a result of this, my practice is varied,

moving from print making to drawing,collage and

CAD processes such as laser cutting and 3D printing.

 

Working across these different media opens

newpossibilities to approach related ideas of

replication,authenticity, and mass production

through different routes.

 

This enables me to get closer to- or perhaps further away

from- understanding the meaning of the term “original”

print.

 

Previous work has replicated the same image several

times over,using different methods of print production.

 

This serves to question ideas of authenticity

and originality, asking if the medium can be

separated from the context in which it was produced.

 

 

Are multiples and editions an answer to social

ideals, bringing art closer to the public or

are they nothing more than a marketing tool?

 

 

This question stimulates my further research

into the ‘aura’ and value of a work as described

by Walter Benjamin in his essay ‘The work of art

in the age of mechanical reproduction’.

 

Recent works use a new system of editioning prints

using a code of my own making. The method of

production affects not only the quality but also

limits the quantity.

 

 

Although these new prints will be in a series,

there will only be one print, signed with the colours

used in it, as an attempt to challenge false scarcity

found in the current system nevertheless still

maintaining a mark of authorship.