“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!

 

“Spirit Vines” 2 Collagraphs

I will never forget when I pulled these two separate collagraphs off of the press. I showed a printmaking instructor, who was there managing the studio, and her response was, “what a world you are creating.” I loved that idea! It has stayed with me ever since. She was right too.

"Imprinted Spirit Vine, Sepia" 2011. collagraph
“Imprinted Spirit Vine, Sepia” 2011. collagraph
"Embossed Spirit Vine, Sepia" 2011. collagraph
“Embossed Spirit Vine, Sepia” 2011. collagraph