About the edition
The cyanotypes are negatives or inversions of the screen print image, and I think of them as variants or sister pieces. The blue cyan colour inherent in the process seemed apt for reproducing jay feathers. The sense of depth within the image is created by the overlaying of two feathers to create an interference pattern. I also like that the process was historically used for making copies of blueprints and plans, and these artworks reproduce an organic architecture on a micro scale. Duncan Marquiss
The title of Duncan Marquiss’s exhibition Copying Errors refers to biological variations caused by errors in the reproduction of genetic information, yet it is also a reference to Marquiss’ preoccupation with the idiosyncrasies that occur within the materials he uses. Working with DCA Print Studio Marquiss’ continued his interest in the relationship between natural evolution and human behaviour using enlarged images of jay feathers as a starting point.
| Year | 2016 |
| Edition of | 14 |
| Media | Cyanotype on Fabriano Rosaspina Bianco 285gsm paper |
| Dimensions | 20 x 12.5cm |
| Signature | Signed, numbered and dated by artist |
About Duncan Marquiss
Marquiss graduated in 2001 in Fine Art Printmaking at Duncan of Jordanstone College of Art & Design, Dundee and subsequently from the MFA at Glasgow School of Art in 2005. He undertook the LUX Associate Artist Programme, London in 2009. Recent exhibitions and screenings include Renderuin, Glasgow International Festival 2016; Experimenta, BFI London Film Festival; International Motley - Honest Signals, Glasgow Project Room; Index, Flatness. euscreening at Microscope Gallery, New York; Foraging Economics, essay for The Happy Hypocrite, 2014; and an artist curated programme, Information Foraging, for the Artist Moving Image Festival Tramway, Glasgow 2013. Marquiss is based in Glasgow.
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