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ABSTRACT SCREENPRINTS (1966-71)

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"No 10_69" 1969 screenprint 59x71cm

"No 14_69" screenprint 58x69cm

"No 8_71" 1971 screenprint 59x69cm


"No 1_68" 1968 screenprint 59x81cm

"No 6_69" 1969 screenprint 59x71cm

"No 21_69" 1969 screenprint 58x63cm

The screenprints illustrated on this page were exhibited widely, including Park Square Gallery in Leeds; William Weston in London; Galleria Morone, Milan.

Ian wrote in 1971, for the William Weston Gallery:
‘I see my work as an event rather than an object. I use geometry in both the technical and philosophical senses; it brings rationality to what is basically an irrational activity.’

Aldo Passoni wrote for the Galleria Morone in April 1969 with regard to a group exhibition of British printmakers:
‘The cultural trend represented in Vasarely and Bridget Riley is evident in the work of Ian Fraser, whose interests appear to centre on the intense lyrical possibilities which this field offers.

Eight very different artist rich in experience who, owing to their individuality, are in a position to contribute a “European” alternative to the trend towards multiples which English print-makers are generally associated. This experience will be decisive for the development of European art in the next few years.’

The Park Square Exhibition was reviewed in the Yorkshire Post 3rd July 1969 by ‘W.T.D’:
‘Prints have the quality of music
Two painters with Yorkshire links, now well known in London, are showing their recent prints at the Park Square Gallery, St Paul’s Street, Leeds. They are Ray Fawcett and Ian Fraser, colleagues on the staff of Hornsey College of Art. Their close sympathy of outlook is plain from their work.

Both use simple elements, such as circles, to build up their abstract designs, which in their exploitation of repetition and rhythm and the subtle modulation of tone have the quality of music. Their colour for the most part is subdued, though both can employ bright colours with spirit on occasion.

The general effect of the exhibition is one of harmony and tranquillity. It is a soothing experience to spend an hour among these prints. In a world of well-nigh pervasive vulgarity, it is good to find members of the younger generation producing work as civilised as this.’

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