Posts Tagged ‘chine colle’
Friday, September 3rd, 2010
I actually have two pieces with this same title, and I’ll try to post the other one (an oil painting) next week. I considered renaming this one, but the red is really the thing that calls to me about the piece. The red is dark and rich, and the figure is a fuzzy shadow that hides in the complex fibers. The ink of this print adhered irregularly to the handmade Thai paper, giving it a ghostly appearance.
One of the reasons I love the monoprint process so much is that it adds an element of randomness, making the art a collaboration between me and the process instead of me trying entirely to control what goes on.
Red, 22.5″x30″ monoprint and chine colle on watercolor paper, $499 with free shipping.
Here’s a close-up of the figure’s face, so you can see the other colors that are hiding amongst all the red, the black and white and a barely-there glow of golden yellow.
Monday, August 30th, 2010
This is another large monoprint that involves many layers of paper and ink. I had originally done the face as part of a larger figure, but wasn’t happy with the result, so I tore up the sheet of paper to make more interesting shapes and re-used parts of it in the top layer of this print. The red is actually all ink rather than another sheet of paper, a large printing plate covered in it. The bottom shape was layered with the torn paper under the ink, and then on top another layer of paper and ink was laid down, this time with large sheets of acetate for the medium rather than a plate.
These prints are all one of a kind, and I no longer have access to the press I did them on, so they’re not something I can make again. Each one involves a unique process of things coming together, ink and ideas, paper stock and plates, to create an individual work of art.
Torn, 22.5″x31″ monoprint and chine collé on imported handmade and watercolor paper, $499 with free shipping.
Thursday, August 19th, 2010
This print uses several techniques, layering the two sheets of imported paper, black on a creamy natural white, and then adding silver ink in the form of 4 separate images — 3 rubber stamps around the borders, and the central monoprint. All of the images were printed in silver oil-based etching in, because the black paper wouldn’t allow the translucent water-based monoprint inks to show up. In addition, the paper didn’t allow the image to fully print, some of the fibers rejecting the ink entirely, leaving the figure with a shadowy, deaths-head appearance.
In the upper right, I re-used the same silver sun from Sea, and then we have the White Rabbit from Alice in Wonderland on the lower left, and a Winnie the Pooh stamp on the lower right. Pooh stands hand-in-hand with Christopher Robin, along with the quote, “The Forest will always be there… and anybody who is Friendly with Bears can find it.”
I wanted to give the image of someone basking in the sun, eyes closed, taking a moment before moving on to whatever the next thing is, whether it’s another day’s work, the Red Queen’s Court, the Forest, or whatever lies beyond the fields we know.
Not Late for Anything, 31″x23″ monoprint, rubber stamp & chine collé on imported paper, $499 with free shipping.