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| Homme I Monotype |
My intent is to bring a humorous look at domestic cats and our relation with them. Memories of begging my parents, and me, as parent, being constantly asked about adopting a kitten, shaped the 'scenario' for this tryptique. Later on, Steinlen's 'Chat noir' brought cats and art in our home. With a rotary tool to engrave plexiglas, I created a texture of sketchy images, like childhood memories.
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| I. Je veux un chat |
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| II. Un ti-minou à moi |
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| III. Merci M. Steinlen |
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| L'estampe intitulée La valse du ginkgo sur papier Stonehenge |
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| La belle presse neuve |
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| La plaque gravée |
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| Linogravure sur papier de La papeterie Saint-Gilles 2/15 |
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| 'Flooded Britania", one print I managed to complete during the workshop |
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| After a few trial on newsprints, I tried with good paper and it created a different feel. Also the image on the plate was starting to fade or peel off, so few 'good' prints would be possible. I found that heating these plates made the image on the plate more durable. |
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| It will be so cool to use these in my handmade books and cards. |
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| I am thinking of using these to make my first chinese thread book. |
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| Quelle fraicheur cette tache rouge qui s'élève dans une mer bleue! |
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| J'ai choisi une vue de l'arrière des jonquilles pour cette peinture, ou est-ce la vue qui m'a choisi? |
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| Ca m'a pris du temps m'installer en plein air pour travailler et me concentrer, mais quand la lumière fût, c'était magique! |
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| Estampe 'accidentelle' faite en déposant une feuille sur la peinture à l'huile fraiche. J'aime la délicatesse des traits, et le mystère que ça crée. |
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| Un dernier petit coup de torchon pour les traces de doigts |
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| Left: letterpress print; Right: linocut print |
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| Drying eco-prints on the clothes line |
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| Set up to steam the paper/vegetal material lasagna |
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| Paper soaking in an alum solution |
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| Fig. 1a Some onion skins, sumac leave, hibiscus petal, coffee grounds, grape pulp and a piece of rusting iron are deposited on the paper |
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| Fig. 1b) The two sheets facing each other after taking out the bundle from the steamer |
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| Fig. 1c) This is the dry ecoprint on the sheet of paper |
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| Fig 1d) This is the ecoprint on the sheet of paper placed on top of the plant material in Fig. 1a. Sumac print is shadowed; onion skin, iron and hibiscus flower petal and grape pulp are strong. Grape pulp might produce a fugitive print, meaning it will fade over time. |
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| Fig. 2 Close up of onion skin on the damp paper after steaming for a few hours |
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| Fig 3a) Hibiscus flower petal |
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| Fig 3b) Print of the hibiscus material |
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| Fig. 4a) Rusting iron cheese grater is included |
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| Fig 4b) Opening the lasagna |
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| Fig 4c) Dry print of the cheese grater on bottom sheet |
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| Fig 4d) Dry print on the top sheet |
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| Fig 4e) Dry print on the other side of sheet in Fig 4d). in other words, the mark made by the rusted cheese grater went through the paper and registered on the other side too. |
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| Fig 5 Bricks were installed on top of the 'lasagna' during the steaming. The bundle was turned over mid-way in the steaming process to expose the top layer to more steam |
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Printed papers were rinsed to remove vegetal matters, and then hung to drip. Later when almost dry, the sheets were layered and placed under some weight to flatten. |
