July Monotypes

Esopus Creek, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches 

I have caught the monotype/printing bug real bad!  Painting has come to almost a complete halt, not something I want to admit but it is the truth.  I look forward to the days when I get to print, most of my energy now goes into planning and sketching for monotype days and nights at either the Salmagundi Clug or at my friend Rob's studio.  The monotypes are being well received by most people, it seems like the dark aspect of the images and their moodiness captures viewers attention far better than my colorful paintings.  There is something more mysterious about them, and that seems to really get people's attention.  It used to bother me a lot since it made me think perhaps I was not such a good painter after all, but I am learning not to fight it, so full steam ahead the printing continues.   

Arbolado II, 2016, image 8 x 6 inches, paper 11 x 8 1/2 inches 

Things have started to evolve, and I'm now in the process of creating two new series of works that stem from these monotypes.  The first series is called Arbolado, a group of prints where I will be coming up with images of walls of trees that take up most of the page.  These are an exercise in imagination, speed, and my understanding of composition.  How many of these can I make without them becoming repetitive?  I have set a goal of ten, but perhaps will continue further until they develop into something more.   My approach is simple, work fast, come up with the image on the spot and let the inked plate guide me as I start making marks, and try to keep more of an abstract composition.  The image above is No.2 of the group, which I will share more of in an upcoming post.  

 

Farmlands in Kripplebush, 2016, monotype, image 6 x 9 inches, paper 8 1/2 x 11 inches

The next series involves the ghost prints I have been collecting and did not know what to do with.  Last month I almost tossed them out but decided to keep them for one reason or another.  I did not want to touch them up with pastels or watercolor in fear that I would create a mess.  Also, I did not want to copy Degas who is known for reworking his ghost prints.  But the old light bulb went off in my head the other day and I had an idea on how to use said ghost prints in a way that I could incorporate painting.  Still trying to figure out the technical side of it but soon as I get it down I will post the process and outcomes.  As always, thank you for checking in, more work to come!