Wednesday, March 06, 2013
This, like most of my silkscreen prints, is made using one screen with successive blocking out. This is referred to as a reduction method, or as I like to call it, the suicide method. As the print progresses the matrix is reduced to fewer and fewer open areas by the application of a waxy substance, which blocks out the screen. There is no going back. But now I allow myself to start fresh with a clean screen if needed. In this case some blacks were added at the end, which made for better contrast and some jazzy shapes, and containment of some shapes which were drifting off and not paying attention.
I wasn't at all sure if this print was going to please me at all. But after the blacks, I feel it has energy and heat, and the colors worked out in spite of some technical problems. At this point in the ever mysterious marketing world of art supplies, I am opting to use tube paints for more pigment and better consistency than the weak and blah products better suited to t-shirts and posters than to archival works on paper. The tube colors, added to a printing base are efficient and make better use of known materials, and they are rich.
It was fun to make this print, as a return to a medium which is an old friend. It is familiar, and now I value the necessary doubts. The stage is set for the next phase of working on "hybrid" prints, combining methods. This was suggested as a good next stop during the residency this year. It is good to have another technique, more is possible, especially in the realm of dark line and tones.
Some drawings from Venice are ready for deconstructive playtime, and for the preparing of plates and screens for prints. I will try to post some of these next week. Every work moment counts for a lot these days, and so too do the necessary doubts.