monotypes and a brand new empty
10/27/2012 § 2 Comments
I’ve been slack about posting to any social media or blogs because I’m completely immersed with producing now. I recently gained access to a couple of giganto Takash etching presses, so I’m spending all my free time working on prints. None of the following prints really have concrete titles yet. Some are still incomplete. All the images are printed from the same size glass, which is 16 inches by 20 inches. The papers are Rives BFK, Stonehenge, and Magnani Pescia.
This next monotype bothers me in that the figure has no context, no background. I’m trying to decide how to finish it. After I printed it, the other guy in the shop, a screen printer, came to me to talk about it for a spell. He asked me how long it took to make the image. I estimated two hours to assemble the bits from different drawings, six to draw the image on the inked plate. If I hadn’t told you that, would you have thought it to take so long?
Because I spent so much damn time working on that plate, I also made a ghost print. Later, I toyed with it as a test and came up with this next one. All it took with some lemongrass and a handful of sea salt. The grass juice will never come out. It was an impulsive decision to use it. Next time, I think I’ll fake it because the stains distract me a bit.
These hands are the first print I made a few weeks ago.
And again with a ghost print. I was so excited about reworking stuff on a press, I went nuts and printed many passes with a bunch of color. Then I remembered just how bad my color sense is. Well, not bad, exactly, just really easily influenced. Hey, I live in Florida, you can image how much bright is all around. Honestly, I have a closet full of black and gray clothes for a reason, and it’s not because I’m black on the inside, as that Smiths song goes. Brights clash with my skin tone and my aesthetic sensibility. Can I fix this hideous print? I’m not sure how I can.
Finally, the last hand print I’ve started. I do plan to go back and work more into this, but I haven’t decided if I will do it with more passes on the press, or by hand with pen and ink. Either way, it will not stay in this state for long.
At the beginning of the year, while I was in the middle of the USPS postal project, I had a conversation with a young man who is administration at a local gallery. I told him a lot of my current projects at the time were mail art-related or were collaborative works by postal mail. He was intrigued by this, as he had never heard of it before and was unaware of its history. That conversation gave birth to something. Now it’s about nine months later. That same guy is taking an undergrad class in curating and has proposed a mail art show at an academic gallery, which is open to the public. Yea, it’s the Art in Transit show I posted about a week or so ago.
Because he was not able to put out a public call for entries with enough time to fill the gallery for the time slot he was assigned, I’ve loaned him the entire USPS postal project to exhibit as part of the show, as well as some other mail art I’ve received. So if you’ve sent me mail art, you may very well be in this show.
I’m sending him an empty box, which he will hopefully receive before the end of the installation.
I plan on continuing to print and print and print some more until December. Even mail art will be taking a back seat for a while. If it happens, it will be a by-product of printing. I’ll be coming back up for air now and then, hopefully posting progress along the way. The only thing that will interrupt this is a few possible days in November when I may be the lucky girl who gets to be a studio assistant for book artist Julie Chen on a letterpress book project. I certainly hope that happens. Her work is amazing!