Finding equipment and importance of the workshop
|Clip Title||Finding equipment and importance of the workshop|
|Interviewee Name||Philip Reeves|
|Interviewee Role||Founding member of Glasgow Print Studio in 1972 and regular workshop user until his death in 2017. Philip also helped found Edinburgh Printmakers and was formerly Head of Printmaking at Glasgow School of Art.|
|Interviewer Name||Kerry Patterson|
|Interview Date||15 September 2010|
|Clip Length||1 minutes 32 seconds|
KP: And what about your - the presses that you got for Glasgow, where did they come from?
PR: Well, actually Beth Fisher had an etching press. We had a little bit of money from the Art School for getting presses and other things that we would need. By that time Harry Barnes, who was the Director of the Art School - you know he - first of all he was a little bit puzzled but eventually he came round and thought, you know, it was a good thing I think he helped us cause he was very, em, well known by the [Scottish] Arts Council. So, you know, in a way it just gradually came, came and there you are!
KP: The timing must have been quite good since you had just established this new department of printmaking in the Art School and then you had all these graduates.
PR: Well this is what the main thing was because - ok, you know, if you are a student, if you’re a painter, I mean you can usually paint in any old bed and breakfast place, you know? But machinery, printing presses you can’t do it, you see? So that’s one of the main things of course that I did all this, because obviously it was something where graduates could go and work, carry on their work.