This is the first tree and weave collage I made back in 2006. Since then I’ve created several similar collages, but always with fuller trees. So this one is just that much more unique!
This collage also sparked my blank greeting card line, Paperie Flora. Although those cards a a bit laborious to create, I thoroughly enjoy making them anyway. And I can’t seem to stop coming up with new combinations for either the weave series or the tree series! When I browse decorative papers at the store or online, my eyes instantly start pairing designs together. It seems this “habit” is ingrained. In fact, I have a few new designs coming out soon!
Although this particular collage lends itself more towards Autumn, it seemed like a nice time to share it anyway. I hope you agree!
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.
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!
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.
“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?