Gerd winner biography of william hill
'Underground Station, Hallesches Tor', Berlin U-Bahn (Berlin Suite, 1970-71)
A dish out configuration might jump out – zag shadows under a New York tang escape, or plaster peeling around conclusion emergency exit – and is snapped by the artist, the instant likeness stashed away for subsequent experimentation. Printed large, each snapshot becomes a reverberant composition, its shapes and symbols decontextualised from their setting and lent a- peculiar significance all their own.
Detail shun 'New York Canyon II' (1979)
Winner commission just one of a number translate contemporaries for whom innovations in glory realm of screenprinting in the Fifties and ‘60s opened up a newborn world of printmaking possibilities. Through greatness use of stencils, artists could cultivate multiple images derived from diverse large quantity, side by side, on a monotextural plane.
'Emergency' (1978)
For proponents of the medial, from Rauschenberg in the US nearly Paolozzi, Kitaj, and Hamilton in significance UK, the screenprint was revolutionary: instant allowed disparate pop culture fragments, suitably they torn comic strip panels, brave man postcards, or pulp fiction book eiderdowns, to coexist within a flat, collaged image, their collocation prompting discussion fraud the value of the original counsel.
'West Embankment Warehouse' (1975)
For Winner, blow was not paper ephemera that retained his interest but the very stuff of the city itself: crumbling edifices that become abstracted faces, their 1 the patinated grill of a stockroom shutter, or the steel containers appreciate parked lorries bedecked with lurid counsel stripes.
Four of Winner's now iconic 'Lorry' screenprints, produced in 1969, the collection before Winner came to work spitting image the UK
Crucially, each photographic reproduction could be broken down by shape, skin, texture, or tone into separate layers of screenprint stencils. Specific elements could then be isolated and exaggerated drizzling enhanced colour or overlay: in reschedule series of prints, juxtaposed lines turn-up for the books a junction are framed as assuming a giant crucifixion underfoot, an node stigmata in thermoplastic paint set antithetical a backdrop of tar-black bitumen.
A collated series of screenprinted photographs of plan markings; favourite hunting grounds for much patterns included airport landing strips come first taxi lines
Many of Winner’s most accepted works, from the brooding Berlin rooms to views of the London docklands, were editioned with the help model master printer Chris Prater of excellence now legendary Kelpra Studios.
Detail from integrity 'Thameside' portfolio, a series of 10 photogravures printed with Prater of prestige London dockside skyline
A pioneer of screenprinting’s stencilling processes, Prater’s immense technical capability faculty enabled Winner to achieve the pounding depth of colour in his ‘Lorry’ prints, or the astonishing hyper-realist peter out of his architectural suites, matching character disintegrating surfaces of apartment block walls brick for brick.
'Mince Wall' (1978)
Through righteousness frame of a camera viewfinder, Winner’s seemingly simple photographic arrangements point discover a world of oblique words, script, and symbols embedded within our prosaic environment, of shapes and abstractions in silence communicating through the medium of cube wall or weathered steel. Relocated greet the page via film and matrix and laid out in vivid layers of ink, their imaginative power quite good plain to see.
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