march recap
In March a lot of progress was made in the three large scale prints on death. As of now they are done and all that is left is some experimental printing by making monotypes. Creating two layers for each of the three reduction linoleum prints involves a meticulous process that combines both color and black layers. The initial layer typically consists of a vibrant color that serves as the foundation for the print, introducing a lively and celebratory mood. Following this, the black layer is added, which outlines and enhances the imagery. The reduction method requires careful planning, as each cut in the linoleum removes elements that will not be inked in subsequent layers. This technique, while intricate, allows for the development of depth and contrast, resulting in prints that are visually engaging and rich in texture.
The use of color significantly alters the graphic nature of the bold printmaking style, bringing an unexpected warmth and energy to the composition. The interplay between the bright colors and the definitive black lines retains the strong, graphic quality characteristic of linoleum prints, ensuring that the inherent boldness is preserved. The layers work cohesively to celebrate the imagery, as the colors animate the print and bring a sense of vitality. By balancing these elements, the prints become a fusion of boldness and vibrancy.
In the second layer of the first print of my series, intricate carvings of the window and the characters depict the woman in a moment of vulnerability, her expression a mix of sorrow and serenity. Death offers solace, representing the delicate balance between life and loss. The interplay of the two layers, along with the contrasting negative spaces, enhances the visual depth of the print.
This print getting it’s second layer allowed me to finally see what I had actually been working towards. As the first color layer had a completely different effect compared to the second being placed over top. Before it was a very soft and colorful image, however, once the second layer was finished that graphic nature was introduced that I adore about printmaking. This effect finalized the piece for me and I had a new source of energy to finish the other two.
The second print I have been working on gave me some doubts in the beginning. As I had already decided and mixed the colors, aiming for a lighter color blend to add more contrast than the last. However, I found that by itself, I was not a fan of the lighter print. I decided that I needed to see it through though as I wanted to have a more muted color palette for this print. The more muted palette gives it a more peaceful and reflective mood to the piece. Thankfully as I added my second layer it came together and had the effect I was aiming for. During this round of printing I also focused on what colors would peak through the black on the figures. I decided to play around and have a few with different versions of the blue and orange. The print run was a success, the result was ten pieces that balance boldness with subtlety while continuing my narrative.
Here below you can see how some of the color peaks through more subtly in some while others are a little more dramatic. This is a constant through all three and I really enjoy the variations in the pieces. Both because it pulls the characters more into the setting they are in as well as giving it a more craftsmanship like quality to them. The stark white of the characters creates a striking contrast against the colorful background, allowing them to emerge vividly from the surrounding space. However, the subtle infusions of color that peek through the black lines serve as an anchor to the figures within the setting, I wanted to have this subtle integration that grounds them in their environment. This delicate balance of boldness and nuance is a hallmark of printmaking, enabling me to have a unique interplay between the characters and the background.
The third was the most fun color wise as I wanted to make it the most saturated and brightest. The choice of brighter colors in the design symbolizes the vibrancy of new life, reflecting the pure, uncomplicated joy found in holding a baby. These vivid hues evoke feelings of warmth and innocence, emphasizing that the arrival of a child brings an unparalleled light to the world. In this context, even death, often seen as a somber event, is reimagined; it is gentle and nurturing, akin to a peaceful embrace. The bright colors had a eye catching contrast to the black layer placed on top in a way that the second print was more muted, this third print calls out for attention.
Standing as a striking finale to the series, encapsulating a complex emotional landscape where discomfort is combined with comfort. By portraying death cradling an infant, the artwork walks a fine line, presenting a paradox that evokes both unease and tranquility. It challenges the viewer to confront the often-taboo subject of mortality, especially when juxtaposed against the innocence of childhood. The choice to depict this tender, yet unsettling connection was intentional, aiming to provoke thought and reflection on the cycles of life and the inherent fragility of existence.
In crafting this piece, the focus was on ensuring that the image exuded a sense of comfort, transcending the initial discomfort that might arise from its subject matter. The delicate portrayal of the child—and the gentle embrace of death—was designed to emphasize a protective quality, suggesting that even in the face of life's most profound losses, there is a warmth that can be found. This duality invites viewers to reconsider their perceptions of death, recognizing it not only as an end but also as an integral part of the comforting narrative of life. The print ultimately serves as both a reminder of life's fragility and a source of solace amid the complexities of human experience.
While working on my project incorporating color into it’s narrative I also worked on several pieces that served as stand alone images. The first image I finished was “Resist” which is a drypoint at 18 by 24 inches. The etching is of a coyote caught in a tense moment, its body is straining against the grip of hands that emerge from the edges of the image. The animal’s wide eyes convey a deep-seated desperation, a final effort to break free from what binds it. The contrast between the coyote's emotion and the hands that hold it conveys an unsettling harmony; both are engaged in a struggle, depicting a sense of shared vulnerability and the complex nature of control.
The plexiglass etching serves as a striking visual narrative that invites viewers to reconsider their initial interpretations. At first glance, the coyote appears to be the central figure of confrontation, radiating an aura of menace that aligns with the instinctive associations many hold towards predators. This seemingly straightforward presentation beckons viewers to explore the darker side of nature, encouraging them to cast blame on the animal as the apparent culprit. The vivid intricacies of the coyote's form are crafted with precision, drawing attention to its predatory grace, yet this focus belies the underlying complexity present in the piece.
Upon closer inspection, the hands etched around the coyote reveal their true significance, prompting a deeper reflection on agency and responsibility. At first, these hands seem innocuous, cradling rather than constraining, leading to a deceptive impression of freedom. However, they serve as a subtle reminder that the real source of tension lies not within the coyote's instinctual behavior but in the human tendency to impose judgment without understanding. To blame the coyote is to misunderstand the natural world, a world where creatures operate on instinct, unbound by human notions of morality. In this way, the piece challenges viewers to confront their biases and consider the broader implications of their interpretations.
The print is large enough that it took longer periods of time to physically prep the plate and ink. each print took forty minutes to composite and hang. The final look of the drypoint is completely worth the labor it took to create as it successfully indicates the message I wanted to convey. Working with the drypoint medium takes a lot of work in the printing process compared to the etching process in the beginning. The plexiglass drypoint prints can only be created using a press found in printmaking studios, leaving me with the ability to make this type of work while I am in my residency.
One project I have been working on in an experimental way has been the three Banshees linoleum prints. Originally they were made separate, but when I decided against a frame the idea to collage the three together came about. After pondering how to go about it I decided to cut them out and have them in one image and add details later. What I have now is the three staggered together creating a more dynamic look. While adding more elements in white on top is still in the works, the way they create a more balanced image is very satisfying to me. I would like to keep it more on the simple side or even add some script in later iterations. For now it works well as a stand alone image with the confrontational attribute being made very apparent when the three are next to each other rather than apart.
