Traditional printmaking is not merely a factory for cheap images at affordable prices?
Firstly, multiple has its own logic. Beyond the bravery of the "unique" artwork, connecting with scores of people has its own purpose (the print is material, sometimes profundly material). Several places, several owners (images are created by our brain, but cheap prints are in our hands touching them). Often, quite always, several artists collaborate, by neccessity.
Secondly, The link between critical evaluation and the process of creation ranks among the most fundamental questions. Lengthy construction makes room for thinking about everything: content, inks and paper. Metal plates as living documents have their own history.
You have to build the print piece by piece. I just love the way it looks, the process, the whole feel of it. It’s irreplaceable.
Third, softground technique makes ethernal print of ephemeral events, if necessary several view of the same process. Printing the fragility of life.
Four. Chemical art. Sometimes precisely, sometimes rough and unpredictable.
Printmaking should be fun, and if it’s not, you’re listening to the wrong people or you shouldn’t be printmaking. Zany prints which transcend culture and time, resist easy categorisation and allow for multiple readings.
Metal plates are beautiful objects. The varying scale of the prints, which can be tiny or monumental, challenge the viewer’s gaze. Web pages populated and reimagined, in an ongoing internet project that extends beyond the printer's own subjectivity of the present moment.
What makes the prints original? Storytelling is fundamental. Prints has become a matter of mystery in another corner of the art sphere. The past book industry is the ground of powerful symbol (thinking of bookplates).
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