Sorting out previous work, “living with it,” so to speak, allows me to crystallize ideas that have mapped the inside of my sketchbooks. I’ll make marks, grab quotes, pin images–finding connectivity that can be developed into complete, visual relationships.
Over the past few weeks, I’ve pulled out piles of work and re-examined the familiar with a new eye. I’ve hung pieces that once felt finished, allowing them presence in my daily movements, being open-minded to the possibility of working back into them, or of using them as launch points for bigger executions.
I’ve currently got two large linoleum blocks underway (first stage photos above), as well as more of my tiny artifacts (also seen in the top photos). I’m experimenting with layered ink on canvas, working on a stack of plates to print this August when I have access to the presses (including drypoint, linocut, woodcut and intaglio plates) and playing around with beeswax on printed rice paper.
I’ll be using the University of New Mexico’s print shop this semester, which means I have a bit of delay in producing final intaglio, litho or serigraphy elements, but at all serious printmakers are good at time management and crazy, crazy spiral planning. We can generate piles of plates, knowing we can fire them off once the press is hot n’ ready. This suits my style of work, anyway. I spend time planning, percolating. Then furious, intense printing sessions take my project blueprints and mutate them on the fly, allowing for spontaneity and “one breath” moments, even within a heavily premeditated flow.