Etchings — Dawson Murray - ARE RSW RGI

As his manual movements became more restricted due to the ever increasing effect of the M.S. so the scale of his work became much more reduced. It was at this time that printmaking assumed a much more positive place in his working practice.

He gradually developed a very personal use of the traditional sugar-lift technique. His watercolours had always been built up in a wet-into-wet method allowing random bleeding at the edge of forms and so he experimented with this approach in his use of sugar-lift.

'Cabbages Under Snow'

'Cabbages Under Snow'

'Drawing in the Bois d'Amour'

'Drawing in the Bois d'Amour'

'Dapple'

'Dark Sparkle AP'

'Dark Sparkle AP'

'Drifting Triptych'

'Drifting Triptych'

'Silent Garden Edge'

'Silent Garden Edge'

'Fennel Zig-Zag'

'Fennel Zig-Zag'

'Garden Edge I'

'Garden Edge I'

'Gleam Diptych'

'Gleam Diptych'

'Green Dark'

'Spring Pockets'

'Spring Pockets'

'Winter Light'

'Cabbages Under Snow'

'Drawing in the Bois d'Amour'

'Dapple'

'Dark Sparkle AP'

'Drifting Triptych'

'Silent Garden Edge'

'Fennel Zig-Zag'

'Garden Edge I'

'Gleam Diptych'

'Green Dark'

'Spring Pockets'