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Within our rich social and architectural tapestry the use of colour reflects myriad moods. Such colour symbolism can be context and culture-dependent and appears in both visual and written narratives. The importance of colour spans the spectrum of creative practice and in this volume of DRIFT Journal we meet those who embrace its kaleidoscope. Jo Bradford (17), uses a camera-less photography method in an analogue darkroom  to record the essence of the purest colour contained in light. Her colour combinations create intense luminograms, which represent photography at its purest. Ambrose Vevers (40) uses traditional woodworking techniques to bring out the natural colour of wood. While such shades are muted, they are no less striking when combined with the intricate patterns and textures that result when the grain is  revealed. Artist  Sophie Velzian (49) draws her colour palette from nature, and in particular from the banks of the River Helford. Turning alchemist in her studio, she mixes pigmented oil paints and cold wax into a paste, building up layers over time and cutting in with drips of solvent to create her signature droplets, which then expose the colour beneath. Master printmakers Gillian Cooper, Sara Bevan and Graham Black’s work (77) showcases the diversity of the  medium reflecting the richness of  tone in both colour and monochrome, while potter Jack Doherty (86) employs soda-firing techniques to manipulate a dramatic range of colour using copper. This diversity of both figurative and emotional colour composition fills the coming pages in unashamed technicolour.

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On the cover

‘Opposite Shore’, Jo Bradford, as featured from page 17


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