Archives for posts with tag: monotype


I’ll be exhibiting four new prints in MemoryLab at HistoryMiami.  The prints are inspired by photographs from the HistoryMiami collection, one from 1884, and another from 1929.  The exhibition opens Thursday, March 9, from 6 – 8 PM and runs through April 16.  There will be a free Family Fun day on March 11 with activities related to the exhibition.


My solo exhibition, It Was to Be a Glittering City, at Under the Bridge closes January 8, 2017 with a reception from noon to three PM.  The reception coincides with the closing brunch for the exhibition by Yanira Collado at Bridge Red, which was recently recommended as a worthy venue by Elisa Turner during the 2016 Miami Art Week.

Under the Bridge is located at 12425 NE 13th Ave, # 4, North Miami, FL.

Some installation shots below; documentation by Daniel Portnoy.

. . . the show exudes a kind of acquiescent serenity….a wonderful sense of release, as if allowing oneself to succumb to the soft resonant palette of the works, a kind of subtle sense of intimacy, due possibly to the simplicity of the subjects, and the careful way the show is hung, makes things ok…. If you get a chance, stop in, take a deep breath..and let it go.

–David Rohn, Re á Semble at Art is About

 

 

I’m working on an image on a copper plate about a quarter-sheet in size, and I printed some state proofs recently to develop as monoprints.

I’m in the process of building up thin layers of color by applying Graphic Chemical’s water-soluble block inks via a Duralar transfer sheet.  I’m aiming to build up a crisp shape eventually out of the negative space, and to that end, I’ve drawn my form in reverse on the Duralar to use as a guide while inking.  Normally, I use stencils to make my forms with this process, but I’m hoping that the slight imprecision of the edge after numerous runs will give an illusion of depth at the edges of the form.  After I’ve built up the water-soluble color to a satisfying degree, I’m going to use a stencil and the Duralar technique to apply an oil-based (litho ink) layer of color.

At this point, the impressions each have four to five runs–the single etching followed by multiple runs of color to build subtly blended tones.  I’m using Hahnemühle Copperplate paper in 300 and 350 gsm.

[Edited to add completed images below.]

What has been done (period), 2011.  Etching, Monotype, Silkscreen, Ink Pencil.

What has been done (period), 2011. Etching, Monotype, Silkscreen, Ink Pencil.

What has been done (question mark), 2011.  Etching, Monotype, Silkscreen, Watercolor Pencil.

What has been done (question mark), 2011. Etching, Monotype, Silkscreen, Watercolor Pencil.