The real thing

For now at least I’ve finished making test plates, I want to see the real thing. Working on large zinc plates I’ve draw lines through a hard wax ground with a fine etching needle. The lines are drawn against a steel edge, one plate of horizontal lines, tight together, and another of verticals. Printed one over the other they form a dense cover, a mesh-like structure that mimics the structure of the paper underneath.

Artists share the space of the printmaking studio and fielding comments about work in progress is part of that dynamic. Queries can prompt explanations for what is understood inherently  – in this case that the irregular marks on the drawn plates are a kind of byproduct of the relatively mechanized drawing process. These marks – scratches, dragged areas, pits and gaps – are a kind of interference; they produce a visual static that becomes part of the image.

Sound seems important in these works (as yet, like sound, they exist mostly in the ether)

 

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