Jan Philip Raath is a fine art printmaker living and working in Cape Town, South Africa. He is currently working as a printmaker's apprentice at Warren Editions studio in Cape Town where he specializes in intaglio printing, as well as assisting in lithography classes and silver gelatin printing at the University of Cape Town.
As an artist he plays with the notion of printmaking itself and tries to embody the process within the images and sculptural works he creates. Working mainly in print media he focuses on exploring underlying processes associated with printmaking and the materials and labour involved.
During his residency at the Frans Masereel Centrum Raath focused on refining his stone lithography skills whilst also building onto a body of work dealing with inherent printmaking capabilities of found, redundant objects. These works (“Binary” state 1, 2, and 3) build onto the idea of offset and most colour lithographic processes as being reductive, by inverting the process and building up and superimposing the image in different states, rather than the traditional reductive method. These works are intended to be juxtaposed with an earlier series of reductive lino cuts taking a similar form, but subsequently highlighting the different approaches to the respective mediums. The body of work as a whole is intended to be a deconstructive exploration of the repetitive and usually quite corrosive processes involved in printmaking.
Raath also used his time at the centrum to experiment with a few new techniques, transferring a drawn image to the stone being of particular interest. The works titled "Public Monument 1 and 2" in all the different states were initially created through a transfer of lithographic drawing medium from a prepared transfer paper onto the stone, thus reversing the image so that you don't have to work in mirror image on the stone. The transfer process also makes it easier to draw off site and later take in to the studio for transfer to the stone.
The images created during this process form the first part in a series of typological studies of architectural spaces and structures that has an ignored purpose and a solitary existence in an otherwise busy environment. Giving a feeling of repetitive poetic nature, the images themselves are secluded and exaggerated. The idea is perhaps not to highlight people's interaction with the structure, or object, but rather the lack of interaction. The paradox then lies in the interaction with the representation of the structure, which is the complete opposite of the everyday situation of the real structure.
03.06.2013 - 12.07.2013