Monotypes
are an immediate and intimate form of printmaking. Unlike, say, an
etching, which once created allows a printer to apply ink at a later time and
repeatedly produce multiples, for a monotype the artist paints directly onto a
smooth surface, or matrix, such as a sheet of Plexiglas. Then, before the ink
has a chance to dry, the matrix is run through a press, transferring the image
to a piece of paper. It is a unique image that is not created to multiply. Hard to categorize, they are prints, but you
could just as easily argue they are drawings or paintings. It’s opportunity
for rapid, intense experimentation. The matrix is essentially destroyed in the
process of creation. I like the
immediacy of the process although I often have apply many layers which can
take time.
Working
directly over the original matrix is one way of experimenting or playing with
differences—different kinds of refinement, accent, tone, playful variations,
using collage or other mixed media. Derived from places, memories, and emotions, I explored compositions and
content that is fueled by the elusiveness of the subconscious and the shifting
of memories, most often of travel.
In Ferns and Trees (above), I have used several different modes of printmaking including monotype, silkscreen and stencil. I also added collage to complete the image as I wanted it. Inspired by travel to England's Cotswolds, I wanted to evoke the beauty and mystery of nature in this location.
This monotype is on display at Da Vinci Art Alliance's Home and Away exhibition until May 22. Visit
www.davinciartalliance.org for details of hours and special events.
