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Comment

Comment by Resident Curator on March 11, 2016 at 3:17pm

Thanks for giving us some insight into the process....it has a rich, very layered kind of surface.  It looks and sounds as though it evolves from the intaglio/relief blend.

Comment by T Oliver Peabody on March 7, 2016 at 2:42pm

Thanks!

The process was as follows:

I overlayed painted multiple gestures from the model using the carborundum mixed with medium on an old litho plate. I also used drypoint in some of the gestures scratching into the carborundum as well as the plate. I wound up inking the plate with a roller as opposed to traditionally applying the ink. I then wiped the plate as normal. The roller allowed me to just hit the raised areas slightly so that where it was scratched in the carborundum did not fill in. The other drypoint lines only directly into the metal do not so well in this pic as it was taken with my phone. I did selectively let some areas hold more ink when the plate was wiped down before printing. Anyway that's how it came to be. I also mixed some of the ink with a bot more linseed oil and some I left a little richer.

Comment by Resident Curator on March 6, 2016 at 8:12am

Curator’s Comments:  

 

I really enjoy the density of this new print; the rich blacks and ghostly greys nicely echo the contrast in haptic mark marking.  The black areas nicely float in the center portion of the image, as if contained by the natural force of the light.  While the gestural shapes that emerge could suggest land masses in a larger topographic field, they ultimately offer up a pleasurable, visceral abstraction.  But I’m curious about the print process.  Is the carborundum applied to a collagraph matrix?  The white areas look as though they could have been wiped away on a smooth glass plate, or occur as the result of a light aquatint?  I’m imagining the drypoint lines are left predominantly white, reversing some intaglio processes.