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that I call Alma and she's she's about a hundred years old I hand set the lead type for
for the letter press prince I don't tend to work with photopolymer plates I like sort of the
the tactility of having each letter be its own tiny form but I do a lot of things sort of
backwards within the letter press world I actually I set type what would be upside down
it's it's right side up but upside down to a traditional letter press printer and and I I don't use
the normal methods of registration for my press either I so I developed my own odd way of doing
things that these into this sort of more freeform way that I like to that I like different things
and ultimately that ends up leading to prints that aren't aren't often multiples but are more towards
like a a monotype or a single a single image
I
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that I can use in sort of a layered way to make
these scenes. And it ends up being reminiscent of landscapes or photographs from space or
sort of imagined places.
And it's, that's been a really fun thing to explore with this
is making these things and using them to sort of create a creative new space.
I guess this is a sort of funny thing like the way that I'm making the
monotype is actually just like what happens if you are doing like a normal silk
screen print and you sort of fail to mix your ink properly.
You know, because you'll end up with like all of these like swirly little bits.
So when I first learned about screen printing, like this was what I was
taught not to do is like, you know, to print tanks that weren't mixed all the way.
I'm like, you have to be really careful to mix them all together.
But there's a lot of nice things that come out of the accidents.
I'm going to make some magic.
That's a little something.
This is the first part of what becomes the finished monotype pieces is the
printing here. And obviously there's parts of this that I find really
interesting and exciting that I would use in a piece and there's other
parts that I don't, you know, but this isn't it doesn't matter.
This isn't the finished piece when I'm making a lot of this work.
I'll just be printing printing tons of this paper and just creating this
library to work with.
So then I have all of these different monotype papers to work with and then
I can put them together into a finished piece and using a sort of collage
like mentality.
Sometimes the ink dries a little bit.
I'm glad I printed that.
That looks cool.
There's a little extra line there from the edge of the previous one in the
squeegee. It's almost like a little glitch.
So this is the back of one of the monotype pieces and it sort of makes it
more obvious what I'm doing when you can see the back with how I'm just
cutting out these elements from other monotypes and gluing them, gluing
that back onto the piece.
It's sort of a funny joke in the critique group that I'm in once one of my
critique mates pointed out that in a different era this would have been
the piece instead of, you know, instead of this, but that's, you know,
how to start exchange.
I think that printmaking has a natural relationship to animation.
The repetition of the frames of an animation speaks to additioning
within printmaking or making multiple originals.
So part of my practice is exploring that relationship by printing
small additions and scanning each of the pieces within the addition
as a frame and then animating these frames.
And that then ends up showing the variation of my hand and of the
registration of the piece on the page.
We live in this odd time when things have to exist both in physical
space and in virtual space and the way that I treat my animation
practice I think is related to that or a product of that in a certain way.
I'm painstakingly making these physical objects and then scanning them
and taking those physical mistakes and translating them into something
that is virtual but feels a little bit more tangible and real.
Art at its best really gives you an opportunity to see something a little
differently or to have something that you've always sort of felt
expressed in a more concrete way.
And I definitely, I don't know, there's a certain kind of satisfaction
that I get out of just having a feeling and working my way around
the things that exist around that feeling and trying to find something
that I feel sort of expresses that.
Looking forward to the future, I'm really excited about the path
that I'm on and that I've been on.
I think experimentation is totally important to my practice
and just to, you know, having a good time in the studio in general.
But it's, you know, I just, I want to keep making things
and looking more closely at the world around me and responding to things
and seeing what I know of this.
