“Totem Tree” Progression

When you work on a matrix for printmaking, the general rule is to pull an impression every time you make a change to the plate. Even if you only add a line, for instance, it’s generally important to ink the plate, wipe it and run it through the press to see how it looks. Certainly makes sense. Granted, I personally, didn’t always do that! For this particular piece, I may have skipped that step once or twice. I wanted the surprises and I wanted the processes behind drypoint, etching and aquatinting to guide me on their own.

When going back through these impressions however, I found it exciting to see the progression. And what’s even more exciting, in my opinion, is that each of these states is completely unique since I can’t go back to it! The zinc plate has been forever changed.

“Totem Tree” etching and aquatint

"Totem Tree Sepia" 2011. etching and aquatint
“Totem Tree Sepia” 2011. drypoint, etching and aquatint

My first drypoint, etching with aquatint post college. This became the beginning to my series of pseudo-mythical creatures I created as collagraphs. It will always have a soft spot in my heart. I felt so honored to have been selected to donate an impression of this to a fundraiser through the American Red Cross in NYC for tsunami relief in Japan. It was so cool seeing my work hung on an art gallery wall in NYC!

 

“Reflecting on Home” in Gratitude

"Reflecting on Home in Lavender" 2011. 8"x10" etching with chine-collé
“Reflecting on Home in Lavender” 2011. 8″x10″ etching with chine-collé

“Who could be so lucky? Who comes to a lake for water and sees the reflection of the moon.” Rumi

Feeling grateful this evening and moved by the above quote. What a wonderful way to appreciate the gifts of Nature.

I created the original etching and aquatint, “Home” in my first printmaking course at Parsons School of Design as an undergraduate in 2006. I don’t currently have a photo of that version (but will in the near future). When I enrolled as a not for credit student in 2011, I felt inspired to apply some of my decorative papers through the process of chine-collé. I have two variations: “green” and “lavender.” A part of me feels the “lavender” version is too busy. I like seeing the faint winged creatures in the “green” impression. Do you have a preference?

"Reflecting on Home in Green" 2011. 8"x10" etching and chine-collé
“Reflecting on Home in Green” 2011. 8″x10″ etching and chine-collé

Thank you.

Spirit Parenting

    "Adrift," 2011. Etching
“Adrift,” 2011. Etching

Spirit Parents

There is a stirring

an urge

a need

to go outside,

in the rain,

overlooking quiet

peaceful water,

lapping on the beach.

Trees overhead,

everywhere around you.

There are moments

your legs

move

independently.

You feel the muscles

engage

to be alone

to be silent

with your Spirit

with your Nature

Those who raise you.