Gemma had inherited a sizable body of work with the bridges piece. The original lino print had provoked Mandy and Helen to break up the image and interpret the mark making and positive negative relationships of marks and collectively seemed to inspire an examination of colour charts and documentation. Gemma felt it was quite a treasure hunt sifting through all the sheets of paper and accumulated ideas.
Gemma also spent some time planning the piece and thinking things over, ideas took shape over the Christmas period when the landscape, disguised by snow, seemed to reflect the layered nature of the collective piece.
The idea of isolating and emerging marks repeats through the archive of material and Gemma took this up as a theme. She took snippets from each aspect of the project, compiling and finishing, coming full circle back to printmaking, a characterising aspect of Gemma’s own practice.
A series of landscape prints are compiled in a book covered in black felt. The first image is clean white embossed marks resembling snow drifts, this progressively breaks up print by print as sticks and stones, hollow spaces and time break up the snow. The prints are accompanied by a series of colour codes documenting the colour choices of the other participants through each stage of the project.
Gemma loves colour but does not use a great deal of it in her own work. She enjoyed collating the colours involved in the project, naming the colours in response to their nature in the respective pieces. Each person is allocated two pages of the landscape series, one documenting their own colour pallete, the other reflecting the collective colour selections. The book is reminiscent of a fabric swatch book in principal and has the character of an archival document.