![]() So much of the paraphernalia of traditional print has been lost - where did /do you get your equipment from? Richard Lawrence then gave me a crash course on the Heidelberg, and I've been making a mess of it ever since. ![]() In a previous life I worked commercial offset litho, some letterpress type appeared around 1996, a proofing press in 2005 and in 2009 I was taken under the wing of Peter Good who showed me how to set type and print it on an Arab Platen Press. Where did you learn your letterpress skills, did someone teach you or did you have to teach yourself? I found a half used tin of fluorescent red ink in a dusty box of inks I’d picked up somewhere which was duly slapped onto some type and I’ve been hooked ever since… Previously I was taken with letterpress being either finely printed metal type or large expressive wood type, but once I started doing the posters for Golden Cabinet I started to become more interested in pattern, repetition and geometry, which lead me to (accidentally) develop a way of working that involves saws, computers, laser cutters, bits of junk, lino cutting and the aforementioned vibrant colours. Your vibrant colours and bold shapes in some way seem at odds with the traditions of letterpress, how did you arrive at this apparent 'mismatch' between process and aesthetic? We managed to catch a moment with Nick Loaring during a recent whistle-stop visit to Newcastle in order to ask him a few questions about his work. To view and purchase a selection of Nick Loaring's prints, some of which are part of the exhibition, visit his shop page here. They are organised chronologically with the sizes and formats arrived at by exploiting the limits of two flat bed proofing presses, one from 1969 and the other from 1972. The type was always set by hand, firstly using what was available and then moving into hot-metal in 2014. 'Īll the posters were letterpress printed by hand one at a time using a variety of materials (washers / screws / vintage wood-type / hand-cut lino / laser-cut & engraved hardboard / MDF) in small editions of 30 or fewer. The posters were created by Nick Loaring (The Print Project) who took his inspiration from the type of music on offer which he described as 'a brain-crushingly loud / brutal / in your face experience which was often repetitive, complex and intended to re-wire your internal circuits. Golden Cabinet’s ‘sonic attack’ attracted a hardcore of followers over its 5 years as well as the attention of the mainstream media and international artists working at the bleeding edge of music and visual art. This collection of 30 posters was created from 2013-2018 for Golden Cabinet - the acclaimed experimental music night that took place at the Kirkgate Community Centre in the small market town of Shipley, West Yorkshire.
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