Meet the Maker: Mark James Murphy
I'm a British artist and printmaker, born and bred in the north east city of Sunderland in the early 1980s. I've had a deep drive to create ever since I was a small child, filling up one sketchbook after another with drawings and producing countless paintings, both on paper and canvas. As a teenager, I would avidly read books on artists and musicians, finding an obvious affinity with their creativity. In fact, back then, my bedroom was like a mini art library.
Describe your printmaking process
I primarily make linocuts at present. I draw an image directly onto marmoleum or grey, hessian backed lino and then begin the carving. The physical process is important, but equally, the creative environment plays a vital role too for me. I always need music when creating any art, as it puts me into a more inspired flow. And I try to completely focus inward and get into a relaxed state. By only allowing in what I feel is valuable to my internal experience, I feel more true to myself. From this state I can carve for hours on end, finding it hard to stop until I arrive at completion. I seem to have no problem knowing when a piece is complete, which is a good thing. Once my lino block is carved, I use epoxy adhesive to stick it to a glass surface, ink it and place a cardboard template around the border. I then stick down paper with scotch tape over the block and hand burnish with a spoon or my beautiful wooden baren, which I received as a gift from the good people at Ritualis Press!
How and where did you learn to print?
I discovered printmaking in the early noughties, while attending The Art Studio in Sunderland. At that time, I was in the throes of depression and drinking heavily. I experimented with various printmaking processes under the guidance of the RCA-trained artist in residence there, Derek Hill. I particularly enjoyed etching and aquatint. I found the discipline of printmaking helped me find more clarity and enriched my personal well-being.
Derek encouraged me to apply to university and do a Fine Art Degree in my mid twenties, and based on the strength of my portfolio, I was accepted immediately. Whilst there, I spent a lot of time in the printmaking studio and accidentally came across some old linocutting tools one day. The printmaking technician gave me some materials and told me to take them home and see what I come up with. A few days later, I returned with my first linocuts, ready to be inked. Apparently, I was a natural, and I soon became obsessed with the art of linocut.
Why printmaking?
Perhaps this is a subconscious leaning, stemming from seeing print illustrations in old-smelling books as a kid. All I know is I got hooked on linocutting from my first attempt. I really love how striking a black and white print can be. I tend to use colour sparingly. Each stage of making a print involves close attention and care. And I like to put a lot of care and intention into most things. I am happiest when I'm creating art, so for me, I like to embrace the slow process of a handmade print. I can really become absorbed in that happy feeling.
What draws me to linocut is its directness and honesty. It's a medium that invites you to commit fully; each cut is permanent, each decision leaves its mark.
Where do you work?
I currently work from my home studio in Southern Vietnam, where my wife and I live right now. It's a small, very simple setup. Basically, a work desk, with a very comfortable office chair, next to a large window, allowing plenty of daylight in. You're probably wondering how I ended up living out in Vietnam! Well, I moved here originally in 2017 and began supporting my income through teaching English as a foreign language. I find living in Asia allows me much more time to devote to my practice as an artist, to what I find most meaningful and love doing the most in life.
Describe a typical day in your studio.
I would say I don't have typical days, my approach to making prints can vary, from sporadic bursts to creating non-stop. Once I start a new piece, I'm very excited to see the preconceived idea come to physical reality. So the entire process is usually worked through in a matter of days, sometimes over a week. But I'll just spend hours on end drawing and carving, until I feel like eating or resting.
Playing with creative ideas in my head is a constant though and I find it difficult to ever switch off from this. I'm professional about being creative, in that I give it the utmost respect. But I don't see it in terms of anything that resembles a routine. I try to spend small periods every day promoting my work through social media and checking emails. But making art is paramount, and I want to give over my entire time to this, when and as I feel like it. I don't force myself to be productive, though, if I don't feel like it, then I don't do anything. At that time, I'd rather go out to a cafe or sit by the sea.
How long have you been printmaking?
I don't remember exactly, as my wife would tell you, my memory is so bad at times! But, definitely since the early to mid-noughties. And I started making my first linocuts around 2008-09.
What inspires you?
I take inspiration from the physical and cultural environment I find myself in at present and where I've come from. I want to express some kind of latent energy or mystery in the ordinary. My prints are inspired by the overlooked details of our surroundings: the curve of a power line, a roadside shrine, the geometry of rooftops, or the rhythm of factory silhouettes at dusk. I'm fascinated by the quiet poetry of ordinary places and the stories they hold just beneath the surface.
And as an expat living in a foreign country, I also wish to assimilate this experience through art and bridge the gap between the local and Western printmaking communities.
I've always loved reading about art, especially artists' and musicians' lives, and I find that a constant source of inspiration too. I find the novelist Haruki Murakami's ideas on art very interesting, especially in that our personal experiences and internal world should be important factors that shape our creativity, in order for it to be true to ourselves. Already I've experienced a few extreme ups and downs in my own life, and they definitely drive me to keep making art. Perhaps from a desire to reach a better state of mind than what I had yesterday.
What is your favourite printmaking product?
I don't have one specific product, but I do love the range of archival paper available to printmakers. A good quality product, such as Fabriano Rosapina Avorio, is a thing of true beauty.
What have you made that you are most proud of?
I don't think I could single out one particular artwork, because everything has some meaning and is personal to me in a way. I would say I'm just proud that, despite the adversity one faces, when you choose to pursue the artistic path, you continue to create with more passion than the day before.
Where can we see your work? Where do you sell?
You can view my portfolio, read my blog, which includes lots of useful information on linocutting and learn more about my practice on my website.
My work is also available to buy there.
What will we be seeing from you next?
Fingers crossed, I will get the opportunity to exhibit my artwork at some more galleries in the near future, and who knows, I may even get the chance to have my first solo show. That’s what I really hope for!
I have been delving into the art of Japanese Suminagashi marbling recently and experimenting with interesting ways to merge this artform with relief printing. So perhaps expect to see some new creations emerging soon from this.
Do you have any advice for other printmakers and creatives?
Plan carefully, then go with intuition. Also, if you truly feel that your calling in life is to be an artist, then never lose sight of this. Keep following your dreams and stay hungry.