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My Etchings (the intaglio process) allows me to explore an image in countless ways. The copper plate becomes a sculptural surface in “relief” due to the acid action of Ferrous Chloride as a mordant and at times by working the plate directly with dremel tools and drypoint techniqes. The resulting surface has numerous levels that deposit ink in varied amounts according to the depth of the relief. When ink is applied to the surface, it is coaxed into the crevices. The plate’s surface is then wiped carefully leaving ink in the crevices. When the inked plate comes into contact with paper and printed, it is the pressure of the press that forces the paper into the crevices picking up the image. For me, the advantage of the intaglio process is that the matrix (the plate) allows me to make limited editions of the image or experiment with the plate itself combining it with monotype, collagraphs, silk-screen or lithography. The resultant surface of the print has its own individual beauty. For me, this forms its own truly significant aesthetic.
Some of my Lithographs are worked traditionally on limestone slabs directly with litho crayons and or tusche and brush on Lithographic aluminum plates. Others are created with Pronto Plates which can be printed on an etching press. This last technique allows me to retain the original spontaneity and gestural line in my “Drawings From A Car at High Speeds”. This way, my original ball-point pen or felt tip pen drawings are made into archival quality prints, still limited prints. I do not like large editions and prefer to use a limited edition of only six. These can become “varied” through hand painting, collage, or paint techniques. One of the advantages to printmaking is that any matrix from etchings or lithographs can be varied in countless ways to create “one of a kind “ works of art. Experimentation and the interplay of varied techniques and materials is at the heart of my work.
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