The
process of creating these prints has become as important as the images themselves.
These images explore the environments I exist within. The work is intended to
capture moments that stand out—the reactions of time and memory—this
individual-internal reaction to the external world. Using the print process my
images depict the transition of how everything is in constant flux changing
from one thing into another. For me this starts at building a composition,
putting this basic idea onto a perfectly machine polished piece of zinc, and
through discourse with nitric acid, coming to an agreement between the idea
conceived and the final product.
The plate becomes a symbol for
place, and the process of making a printable matrix, becomes time; taking a
fixed point, solid material object, and making it into something else entirely,
a finished piece of artwork on paper. I am currently only using intaglio for
this end, as I feel the processes involved, are more directly related to the
ideas I am working with. The main processes I focus on are spit bite, deep
etch, and finish with viscosity printing. Spit bite offers less clear imagery,
with subtle, but extensive value changes. Most of the time I will also use a
deep etch to juxtapose the softness created by the spit bite; it offers hard
lines, crisp shapes, and aggressive textures. The deep etch also allows for
better results with a viscosity print, because it creates definitive levels of
etching so that there can be color mixing as well as pure hues, to help add
another level of visual dissonance, and an emotive quality.
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