A Light at the End of the Tunnel


One of the interesting and frustrating effects of using broad graphic strokes to draw and print is that sometimes the line between understanding and incoherence is just, well, just a line. One old fellow looked at the St. John’s print in my previous post and said: “What do we have here? A pirate ship?” People often pick it up and look at it sideways. Well, what can I say? If an image isn’t readily understood, is that the fault of the viewer or the artist? Is it deliberate act to challenge the viewer or the the result of an untrained hand. Sometimes it’s a muddle of all these things.

This print is very much in that muddle, yet it is probably the most intimate and personal print from the entire series. Most people who see it for the first time struggle to comprehend the jumble of white and black lines on the left. And that’s fine. The subject is very much about a struggle for understanding and coherence. It is based on a photograph I took in the early 1990s, on a trip to Halifax. Meg must have been nine or ten years old, and she’s shown here looking down one of the stone corridors that riddle the citadel in Halifax. I saved the photo, and when I looked at it I would see in it a questing soul, peering into the unwritten future, full of hope. Now, I like to think of it as a reflection: that Meg is the observer, seeing herself out of the darkness, and in the daylight beyond the tunnel.

It is a first take. Next year I’ll tackle it again, possibly as a wood engraving. I hope there will be more light and less darkness in it by then.

Explore posts in the same categories: Block Printing, Lino Cuts

One Comment on “A Light at the End of the Tunnel”

  1. steph Says:

    These are all beautiful pieces, Larry. I’ve enjoyed checking in to see this series!

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