As a printmaker, I am drawn to etching for how it allows me to make and remake a plate - marking, scraping and returning the plate to the acid for one last chance to get it just that little bit closer to its true destination. Or resurrect it to go in a different direction. Then there's many options for printing. Printing inks offer colour combinations and the effects of edges that I could only dream about reproducing in painting. For example one plate that depicted a scene of environmental destruction became a reflection in a boardroom window, thus referencing the decision-making as well as the act. I printed it using 3 colours, using the different viscosity of each layer to manage it. So there's lots of room for trial and error, even though the techniques can be exacting. A mistake can be a gift too, either to learn from or because you discover you've been taken somewhere better than you knew and have just managed to notice it in time.
I am also fascinated with relief and more experimental printmaking techniques. I initially studied painting and drawing, and there are many ways to work across the media. I'd like to discover more about printing and encaustic (working with wax). Printing on rice paper, colouring on the verso and backing it on printmaking paper has been a recent project.
Whatever, lifting the print from the bed of the press always involves a surprise.
2/66 Blair St
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