Satinder Parhar

Year of birth: 1994 
Where do you live: Wolverhampton
Your education: BA (Hons) and MA at the University of Wolverhampton
Describe your art in three words: Large, contrast and depth
Your discipline: I produce large scale dry-point prints to allow the viewer to be submersed in my work. It places them within the space as the prints are a re-representation of an existing space. The prints are based off photographs I have taken whilst exploring these spaces.
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Can you explain how your fascination with interstitial spaces began and how it has influenced your artistic journey?

My fascination began naturally as I entered spaces. It was this reaction between the space and myself which influenced my thoughts. It questioned the viewer’s position in relation to the space, and the form which shapes it. Does the structure and the space formed within work together in harmony or as opposite forces? It also raises the question in when does a space become a place?

How do you select the specific tunnels, vents, and other apertures that feature in your dry-point prints? Do these spaces have personal significance?

When selecting a given space, I read books and use online platforms to help discover a space which best portrays my theory. Not every space I explore yields the desired result, however this is a natural process of development.
The spaces do not have a personal connection to myself; however the spectator may do. With man-made spaces, like canals for example, some viewers state it was once a route they would frequently navigate in their youth. The composition of the space plays a part in the decision making as I need to ensure that depth is replicated accurately to allow the viewer to be emersed in my prints.

Satinder Parhar, Out of Darkness Cometh Light, 2016

Your work emphasizes the relationship between the “object” and the interstitial space. Could you elaborate on how you view this interaction in your art?

The term ‘object’ refers to both the viewer and a given object which may sit within the space. An example would be a table inside of a bedroom. The interaction of the ‘object’ to the structure and the formed space highlights the submissive nature of it. This applies to any space. There will always be a hierarchy.

What role does the large scale of your dry-point prints play in immersing the viewer into the interstitial spaces?

The size of the prints allows the audience to be fully submersed. The prints are a re-representation of an existing space. Allowing the prints to be large places them in in that space. A space which they are a mere “footnote” in the overall realm.

Satinder Parhar, Obnubilated, 2016

Could you describe your creative process for producing these large-scale dry-point prints? What challenges do you face?

One of the main challenges I face when creating my work is to ensure the depth is replicated correctly to prevent any flatness. One way to overcome this issue is to incorporate tonal depth through the etching phase. This is done by applying different amounts of pressure when creating the marks. Deeper marks hold more ink in comparison to shallower marks. Secondly, if required, an imbalanced paper tone must be created through the process of tinting the paper to the desired colour prior to printing my plate on to. The third is to remove the correct amount of ink off the plate through the inking stage. There are many variables.

Your work has been exhibited in various galleries across the UK. How has your interaction with these spaces and audiences influenced your development as an artist?

The audience’s interaction with my work has been successful. They are immediately overwhelmed with the scale of the pieces. The reception received is also positive. The same cannot be said for two cave prints I’ve produced. These prints are ambiguous, therefore harder to read. The aim is to immediately place the viewer in a space. With the works being ambiguous, it removes the impact factor and creates an opportunity for the viewer to misinterpret the work. The work needs to be impactful and in the viewer’s face to create this sense of entrapment. This feeds into the submissiveness one will experience.

Are there any other mediums or techniques you’d like to explore in the future beyond dry-point printmaking?

Apart from creating dry-point prints, I aim to develop my skills and learn the process of stone lithography and mezzotint. These processes allows me to create dark rich tones in my work, which in turn creates depth. Depth is important as it helps the viewer to be submersed in my work.

Satinder Parhar, #44, 2024