Like a bat out of hell SHE II
Oil-based relief printmaking inks on 120 g/m² archival paper
11 x 14 inches
“She will make things right.”
The magic of paper lithography occurs as a transfer of oil, water, and ink. The artist continuously monitors timing, ratios of water to oil, and pressure.
The “plate” is a photo copy that uses toner-based ink. The “plate” is prepped with monitored spongings of water and gum Arabic. The photo copy toner repells the water.
A brayer is used to apply printmaking ink to the delicate “plate”. Printmaking ink latches onto the toner ink of the “plate”. The printmaking ink is repelled from blank areas by a sealant of gum arabic that the printmaker continuously monitors between prints.
The final transfer of the print is made by vigorously working a wooden spoon across the back of the print paper. Care is taken to find the right friction so as not to destroy both the print and the plate in the process. The main image and other unique trace affects transfer in the process.
Each “plate” prints 1-3 images maximum, before disintegrating into pulp.
The artist works in deep concentration to time her sponging, printing, and lifting correctly. It is a mysterious interaction process between the “plate” and the print itself.
As Kiki Smith once said about printmaking,
“I am grateful to the generosity of the universe for the noise, the noise I could never make up.”
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