Tuesday, September 18, 2012

The Alchemy of Fire and Ice

There are times when making a print comes close to alchemy.  That ancient practice of taking base materials and transforming them describes what we aspire to do in making art with copper, acid, rosins, ink and paper.  In Liz Ward's case she captured ice with fire.

Liz Ward is an artist who understands this and uses experimental image making in her water-color art practice.  Previously at Flatbed, we have worked with Liz on the Increment Suite, a suite of large etchings, Fossil,Poza, Stone Pools, Limpit, and Hoja created incrementally with printmaking techniques to conceptually and visually capture the slow growth and decline of form in the natural world.

This past year we were honored to work with Liz once more. We planned to create two new etchings that would be a part of her recent “Deep Time” series, which references images of ice cores and includes other works responding to “the sublime beauty and alarming imperilment of ice phenomena.” (Liz Ward)  In planning for the project we discussed some experimental methods to create new forms for these etchings.  We also planned that the prints mirror some of the paintings which are vertical, tall, narrow formats.  She explained her interest about how the glacial arctic ice captures environmental information over eons of time.  The  accumulations of ice and other matter can be seen and studied in the core samples taken from glaciers.  Liz is inspired in her paintings by this knowledge and conceptually goes about exploring art making using methods not unlike the building processes of glaciers.  Her articulate statement can be found here:  “Deep Time.”

One of the  experimental techniques we used to start the new print, Ice Core, was for Liz to place small smooth glacially formed stones on a copper plate that was coated with fused rosin (aquatint).  Liz applied a strong "hot" nitric acid mix which we call “spit-bite” to the base of each stone.  The stones themselves created natural harbors and resists for the acid and the results were shadowy stone shapes of varying values. 
Liz Ward, Katherine Brimberry & Cynthia Craig

Glacial Ghost and Fossil Flowers

Liz added her hand-drawn lines to this plate to create the incremental contours indicating added layers of ice through time.  On another matching plate of copper we prepared a fused aquatint onto which Liz directly applied the nitric acid mix with a wide brush in an orchestrated, painterly way so that the plate could be etched from a darker to a lighter value.  The results are a watery tone moving from bottom to top, from dark to light.  The plates were printed in succession onto a Japanese paper with transparent mixtures of ink. 

With the addition of the second etching, Glacial Ghost with Fossil Flowers, which used other experimental mark making in its making, the suite was complete, the plates finished and editions of 40 begun.  Each print is a reading of the alchemy practiced on the plates.  The “Deep Time” prints are available singly or as a suite.

Monday, September 3, 2012

James Surls and the Evolution of the Flatbed Suite

It was 1999 and one of Texas’s major artists, James Surls, was making a move from Splendora, Texas to Colorado.  He and his family had decided to relocate to Basalt, Colorado near the Anderson Ranch Arts Center in Aspen where he and his wife, Charmaine, had been teaching and working during the past few years.  As his family went before, James stayed behind to close up his studio at Splendora near Houston. James and I had been talking about making a suite of prints and so during this time of transition, he decided to take the time to come to Flatbed.

However, there was a stipulation.  James had a request, “I want to make this suite only if you can make this print transparent enough so that if we print on both sides we’ll be able to see both sides at once.”  As Master Printer, I had not done this before but, on a hunch, I tried soaking Asian papers which are lightweight in what is known as “straw-hat varnish,” an alcohol-rosin solution.  It worked beautifully as long as the solution was weak. Our concern was whether this solution was archival.  One of my printers at the time, Pat Masterson, had a cousin working for Sotheby’s and we learned through her and other research that prints from the 1800’s were varnished with the same solution and suffered no degradation. 
James came to Flatbed and drew using soft ground on the square copper plates.  It is always a pleasure to be there when he draws.  He draws with such conviction and sureness; there is no hesitation and the drawing seems to fall fully formed from his hand.  After the first drawing was complete, we etched the copper plate and printed proofs onto lightweight Thai Chiri paper, a favorite Asian paper we had previously used with James.  It is of natural color with organic bits of the chiri bark. We printed the same plate on both sides of the paper.  While James watched, we soaked the print with the varnish and miraculously, the mirror image from the back appeared.  The new image is the combination of the image and mirror image. As James explained, the image was both in two places and in one place at the same time.  It became our quantum physics “the cat is dead and in the box, and the cat is not dead and not in the box” print.  It expressed deeply what it is like to be here and there at the same time; to be in Colorado and Texas at the same time.

Surls went on to draw and etch a total of five plates for the suite which we now call the Flatbed Suite:  Giver, Shirt, Bridge, Faces, and Hands. The transparentized and colléd etchings were printed in editions of 21.  All are available as suites of five or individually.

For more information about James Surls' etchings and woodcuts go to Flatbed's web page:  James Surls at Flatbed Press, but for the best viewing, visit Flatbed Press and Gallery at 2832 East MLK Jr., Austin, Texas  78702.

Photos:  Top to bottom, left to right:  Faces, Giver, Hands,Shirt, and Bridge, chine collé soft-ground etchings, 26" x 22" paper size, editions of 21.