Prints
Working in print has created new bridges for me between the worlds of textiles and fine arts.
Soliloquy. The Soliloquy print Series make me think of the ever-changing play of light on water, and the way that sometimes you can see the bottom of a lake, its surface, and the reflection of the sky— all at once. These prints were made just as Covid-lockdown was lifting. Soliloquy reflects the lonely feeling of that time.
Chimera. Chimera is made of 9 collograph mixed media watercolor and oil monotypes, folded into forms, hung from metal rods. They twist and sway on the breeze. Printed on both sides of light weight Japanese kozo paper, the printing on the back shows through the front and vice-versa. The qualities of transparency and light are at play.
Drop Series. The Drop Series prints are the result of a recent week-long print session at Oehme Graphics in Steamboat Springs, Colorado
This series evolved out of a completely different project that I had on the loom. As I was weaving, I realized that it would be beautiful to use the warp at hand to create an elongated oblong form. A drop. A teardrop, maybe. Off I went, weaving four different iterations of this shape, in an intricate gauze tapestry pattern.
Looking at the resultant woven works, I realized that the image would make an amazing print. Sue agreed. It is hard to sacrifice a woven form to the printmaking process, but there is a big tradeoff in the number of resulting images that can be made, and the textile plate, once used, becomes a thing of beauty itself. To further distinguish the long drop prints, the edges of the print have been cut and torn in the shape of the woven textile plate. This emphasizes the quality of print as object.
Why name the series Drop? Teardrop, dew drop, water drop. Drop dead. Drop off. Drop it. Fragile don’t drop. The associations are endless. I’ve had many dropped moments in the last year. Haven’t we all?
Remnant Series. These monotype works typically use remnants of woven textiles. Woven collograph watercolor monoprints.
