The annual Art Papers auction will be happening in February. I’ll be donating a monoprint which was an offshoot of a trade exchange edition I produced for my Fall Monotype class–yes, “edition” + “monotype” seems oxymoronic, but I’ve found that with some care, most techniques that are commonly perceived to be monotypes can be editioned as nearly non-variable editions. For the purposes of the class, however, the exchange edition was variable friendly.
Into deep water, 2011. Chipboard Relief, intaglio inked with a relief roll and chine colle.
The above print is the one for Art Papers. In my experience, there are only a few true monotype methods (non-repeatable matrices), while all the other methods perceived to be monotype are simply seen so because of a common agreement to work casually and without planning or preparation. Partly, I also think that the way work produced by a certain technique has been historically perceived influences how the technique itself is perceived. I’ve expounded upon this idea as it relates to collotypes here.
On July 7, 2011, South Florida’s Channel 2 (WPBT) aired a documentary of Knight Arts Challenge grantees in which I’m one of the subjects; a teaser trailer can be seen here. A print blurb on me was published in a section of the University of Miami’s Arts and Sciences magazine called Tracking Hurricanes; a PDF of the feature as it appears in the print version is here. An essay written during my early search for space can be read on the Knight Arts blog update. A video made immediately following the 2009 awards ceremony can be found here (though do keep in mind that this was among my very first video interviews, and that I was fresh from the limelight of the stage–I think you can see mild panic in some of my expressions!).
I’ve contributed an essay to Beatriz Monteavaro’s book, Quiet Village, published by [Name] Publications; you can purchase copies at various locations locally, including Sweat Records.