If I were to create a manual or teach a workshop on how to make my work it would be really confusing and probably totally frustrating to anyone reading or participating. I find the process to be the most interesting part of my work as it’s what sets it apart from other artists’ processes – so I’m going to attempt with (lots of) pictures to explain what happens.
**Before I begin, the topic of panels is one that does come up a lot and though I would like to make my own, there is a large part of me that would not. So I have tried many vendors over the years and have found one that works and is very consistent. Before beginning a new series, I accumulate a small mountain size heap of them, spending a small fortune to buy everything in my sizes that I can get my hands on – as I prefer to purchase in bulk from the same shipment – that just seems to make sense to me. I also screen print them all at the same time. I think there is some twitchy compulsive thing in my nature that won’t allow blank panels to accumulate for too long, the same compulsion that forces me to create huge series of works at once.
Okay the fun part – pictures:
My technique of screen printing would make most purist print makers of any kind cringe and possibly roll their eyes. Each series requires on average 4-6 screens each with a doodley drawing. When I print, I lay all my panels out, lined up side by side and the proceed to lay down each screen in total random placement. I print only in black and white and if I start printing in black, then I add white to the screen each time I add ink and vice versa with the black into white. I try to get a few really deep, solid black, but for the most part I am going for greyscale. The last screens to go down are typically pretty pure white, but with hints of grey.
Next, I apply gouache to the foundation of drawings, bridging the gaps between the lines. Unravelling the spaces and connecting the areas between the different drawings reminds me of untangling a knotted chain – but way more fun. Gouache also responds to untreated wood in a most delicious way as it also does not affect the screen print inks – the two remain impermeable to each other, which I also enjoy playing with very much. It keeps my edges crisp and gives boundaries to the washes.
It would be unlike me to not attempt to destroy something that may be finished in one’s eye. After establishing the color and spaced, I apply a coat of ebony stain which I allow to soak into the surface only for a brief minute before wiping it off. The stain completely mutes the colors and transforms the screen printing inks in a way that it difficult to explain but seems to work. It’s important for the stain to not set in for too long as it will make the wood too dark and take away the transparency of the color layers.
Finally, I go back into the piece with more gouache to bring out the richness in color. The stain not only mutes the color but transforms it, giving it a depth that the gouache doesn’t get on its own (or at least not for me). I work in gouache as it’s so easy to control and gives pause before saturating the surface which allows me to play with it and dilute or strengthen it as needed. Essentially, in a very long winded way of explaining, these pieces are many layers that all play a very vital role in the transformation of each piece. I also treat the pieces as a whole – connected by color and line. And that’s the gist of it. Whew. Does Lego manual making teach a course???
scribblenscratch 