About My Art Process
Intaglio/ relief printmaking for me is a natural extension of my earlier work in leather. I’ve found that any method of printmaking can remove boundaries and allows me to continuously enjoy the materials and techniques. The relief prints have striking boldness. If one pauses for a second glance, there will be seen some wonderful subtlety as well as details in lines and shapes.
High relief, earthy colors and simple concepts are my “corner stones”. I build a piece in layers, using different surfaces, materials and patterns to create depth both in form and meaning. Each layer works with and against the layer beneath it. I use printmaking techniques in order to create rich textural surface on paper and leather. The possibilities seem endless.
I start from making the plate by using acrylic mediums to modify the surface. I then ink the plate in oil-based inks and pull the print on the etching press. 'Chine colle' is used to add separate color and enrich texture. In the next layer I add lino-cut or etching.
Every print is 1/1 and is more like a calligraphy and mono-type without the exact repetition. Sometimes I make my own paper and use it for more flexibility or boldness. In some pieces stitching or cutouts have been introduced.
Most of all I love the fact, that whether the relief plate is of wood block, copper plate, linoleum, cardboard, fiber or some found objects, the beauty of the printing process, by itself, is a vital part of the same creative process .
Working on leather as a canvas
A deep interest in fiber led to the exploration of leather as a material full of new technical possibilities and extended range of expression. I was drawn to calfskin, goat, and lamb skins because of their pleasant stimulation to the sense of touch as well as pliability. Each image is drawn in freehand on undyed panels. High relief is made by use of celluclay or cardboard, over which a sheet of leather is stretched and modeled. Glue soaks into it and makes the leather very pliable. I consider myself a painter of two-dimensional objects wherein the surface of the leather becomes the canvas. I allow some of the best leather skins to be transformed to an abstract two/three dimensional work of fine art. For my paintings I use hot wax, stitching, photo transfer, printmaking, and cutouts to enrich the surface and communicate my ideas.
Working with felt
One of my goals is to explore the range of handmade felt, from featherweight to thick, and highly textured to free-form. Many of the felt making techniques I employ begin with merino wool fleece. Layered with other raw fibers, such as silk or chiffon for soft, transparent feel or heavier fabric such linen for more patterned look, allows me to explore endless possibilities in execution of every piece I work on.