Colin Self Power and Beauty No. 7 1968

Artwork details

Artist
Colin Self born 1941
Title
Power and Beauty No. 7
Date 1968
Medium Screenprint on paper
Dimensions Image: 728 x 993 mm
Collection
Tate
Acquisition Purchased 1983
Reference
P07744
View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Catalogue entry

P07744 [from] Power and Beauty No.7 1968 [P07744-P07746; P77696-P77702; incomplete]

Screenprint 28 5/8 × 39 1/8 (728 × 993), printed by Lynn Haywood at Editions Alecto, not editioned
Inscribed ‘Colin Self’ b.c. and ‘Power & Beauty No.7’ and ‘2/2’
Purchased from the artist (Grant-in-Aid) 1983

There were six editioned ‘Power and Beauty’ prints, P07744 being a colour variant of the editioned version of the image of a peacock (P07745). The method for the peacock was ‘to screen a sheet of paper black. Screen white through the screen with most holes in. [Then] The blue one of the tri-chromatic separation. Then print the three screens (colours) (blue-red-yellow) onto this. This gave it the “darkness”, the “edge” ... mystic. Heavy. Sheen. But depth. Took a long time. On the way I really liked the ghostly white on black one’ - Self therefore had two copies printed in this form.

The car image, of the first ever customised car by Joe Baillon, 1948, came from a 1964 magazine and the whale from an animal magazine belonging to Margaret's grandmother. In his notes on the Alecto Gallery exhibition of prints and drawings, October–November 1968, Self wrote:

The Power and Beauty prints are about images that have influenced my themes, drawings or sculpture, and about images which have haunted me...

The photo images I have presented in Power and Beauty have seemed complete, impregnable. All I have wanted to do with them so far is to foster them (a valid act) and to try to recreate those images and what they have made me feel. By using a standard size for all the prints (and other devices) the subjects are transformed, can be seen for appearance, aggressive or passive looks. This upsets the objects real physical size to a certain extent so that e.g. the cockerel looks deadlier and more massive than the charging elephant and Joe Baillon's classic customised car becomes elephantine, sinister and oppressive, more menacing than nuclear warheads.


Published in:
The Tate Gallery 1982-84: Illustrated Catalogue of Acquisitions, London 1986

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