So labour-intensive and all-encompassing does Howard Hodgkin find the process of print-making that each time he finishes a new series of prints, he vows it will be his last. You can understand why when you see the works: small-scale but intense, these evocative, thoroughly over-painted etchings are as much paintings as prints.
Hodgkin has described his work as "representational pictures of emotional situations" and you see this despite the abstraction. Tears, Idle Tears, a watery swirl of azure blue and turquoise, is as much about texture as colour, with soft dips and crinkles marking the paper. It makes you think of when a drop of water hits paper, how it blurs ink, softens the pristine surface; but also how sobbing marks the face. Dawn, a haze of murky purples and burnt orange, could represent only that time of day, a vortex of potential and simmering energy. Rain could be only heavy weather: limp grey tones are framed by green to suggest the lushness that will later compensate for the downpour. Again, the paper is imprinted to look sodden, trodden on by muddy boots.
Other images are near-representational pictures of objects rather than states of being. In Cigarette a square of black-red heat represents the lit end of the cigarette, and a plume of white smoke trails out. Hodgkin captures the way smoke moves through air, but also the fiery brightness of the cigarette as a puff is taken. The same detail shapes Eye, a close-up of a heavy-lidded pupil. It's about the intensity of the gaze and the act of looking as well as the eye itself, but Hodgkin also suggests the drama of the blink that must come, and the occlusion of the dreamy blue eye that will momentarily follow.
There are more abstract visions, too, such as Strictly Personal, which, as the title suggests, hides more than it reveals. A dense layering of moods and colours screens off certain parts of the image; the feeling of being kept out is as strong here as the impression of being let into a shared emotional vision is in the other works.
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