Don Braisby approaches etching as the art of working with corrosion. The plates he prints from are made using both corrosion created by the environment and that produced by electrolysis and electro chemical processes in the studio.
The artwork is produced from the interplay of both controlled and uncontrolled corrosion. Braisby has been influenced in the production of the work by the Japanese aesthetic that accepts transience, imperfection and impermanence. The characteristics of the aesthetics known as Wabi-Sabi is found in Oribi ceramics that are based on asymmetry, irregularity and simplicity. Wabi-Sabi finds wisdom and beauty in imperfection. There is an etymological connection with the Japanese word sabi, to rust, corrosion, and aging. It is the wisdom and insights in this flawed beauty that the narrative in his work aspires towards.
The finished work requires a viewer. The image demands to be seen; this is how it becomes alive. A different narrative is forged between the image and the viewer. The relationship developed between the image and viewer depends on the interplay and resonance between the image and the viewer’s memories, dreams and experiences. When the viewer connects with the work the creative cycle is completed and new one is started, the narrative is transformed to reflect this relationship between viewer and viewed.
The title given to a piece may direct the viewer to make a specific relationship with it. Braisby prefers the relationship between the viewer and his work to be unmediated by titles; the titles provided are his way of an introducing the image to the viewer.
Don Braisby is a Post-Doctoral Research Fellow at Glyndwr University School of Art.