I originally was going to write about work that was not Black and white and thought that a more interesting approach was to talk about works that were “different” from a particular formula I developed in making the Orquevaux prints. Each of these prints is related to all of the work I made at Orquevaux in technique, theme etc. but the ones in this posting point to new and interesting directions that have potentials and possibilities that i could not predict.
This particular print, “Black and Blue Still Life” began with an “ordinary black and white trace print in the background. I placed (not certain why) a stencil that had wet ink on it from having been used on another print. The blue color is very consistent and solid but transparent. It also is a block of color that is the negative space of the black and white print. This seems to establish a relationship but not an immediately perceived one that creates a lot of interesting spatial effect.
I have made prints like this before in which something is obliterated and becomes a background for another image. This may have been made in three or four passes. The first could have been the original print that was obliterated in a second pass or else a lighter colored grey was printed on the darker color then highlighted with the last pass, a sight black outline. This print is very subtle but the images are exuberant.
This print underwent a lot of passes as well as supplemental additions with paint to get the final results. It is called “Night Life Still Life”. I think it has a little bit of a Paul Klee atmosphere. It would be difficult to analyze the process and steps of this piece. It all happened over many days with little and big decisions made - something like a stew simmering with an occasional spice added during the process.
There are many possibilities in this print. I used stencils that “blocked” paint from being applied to another print, then applied them to the surface of this print. The stencils were very messy with evenly applied ink, they also curled and were useless except for this one time only use. Everything is a little ghostly and undetermined. The stark silhouette is painted in and the bust has a trace print orange outline. It relates nicely to other prints in the series but stands alone for technique and overall effect.
This is the most undefined of the still life series. It is called “Still Life Shadows” One can imagine shadows on a wall from a still life filtered through a transparent curtain to create this effect. If the viewer is familiar with my “vases” or not, the image is clearly one of vases and flowers as well as time, motion and memory.
“Subtle Still Life” is just what it says. it was made when I was becoming more specific with many of my still life prints. This was made with a “leftover ink” plate and an additional pass with red ink. None of the colors is very specific and I almost decided to make one more pass, a more intensive color to define everything more but decided (on good advice) to not overwork pieces and let certain prints represent a point of time and technical development. This print didn’t have to be more specific, it could just be subtle.
This print does not have anything innovative at first glance other than having a painted background rather than using an elaborate stenciled background color. This was quicker to make and has an effect that is very different from the stenciled background.
It is important to know when to use certain techniques and when to use others.
This entire set of prints, this body of work, definitely gave me a lot to think about.