Here is my first experience making a mono print.
The initial step is spreading colored inks onto a mylar surface, using a hand roller. This is Akua ink, with a soybean base, which comes in many colors. I chose my favorite dark red, purple palate. Since I was at a print maker's studio, there were lots of stencils and objects to use as texture. I chose this nautilus stencil, and added some string for further random effects.The final paper is put over this surface; covered with protective paper, then felt, and set on the press surface.
Next the press is turned on, and the weight of the wheel presses down into the paper as it rolls along. It was a 1950's Dickerson Combination Press which worked great, et voila, this finished page.
I used print paper for this, after soaking it beforehand. However for this final page, I took rice paper , and got a second," ghost" print of the same image.Two views of the same process.
It was a great experience. While I have no immediate plans for this paper, I am sure it will be used in a future piece of calligraphy, or maybe a hand made book. Create now so the inspiration is before us!
Miniature masks, how much fun is that! Something you can hold in the palm of your hand, or put on that very narrow space of wall. This particular mask is entitled "Purple Vision". It measures less than six inches. It is decorated with feathers, yarn, and has its tongue sticking out at those who are looking at it.
I started putting this aspect on my masks a while ago. I am told that in some warrior cultures,the tongue was actually used to scare off the enemy. I think I chose to add that feature because it made me smile. Perhaps I had seen something of that ilk in my travels. It is often hard to know how deep in our memory bank an idea is stored, and when it comes into our creative consciousness. I do not always use it, but I find that it makes other people smile also, and I like that.
Then comes the choice of colors to use. I like purple, and with the white and light these three colors play well against each other. Also, what is in my yarn box can be an influence.The smokey color comes from the primitive firing I do to finish off my masks. Finally comes the naming.
Someone in a gallery asked me yesterday " How do you choose the name for a piece?"
" It usually tells me," was my response. That is the great thing about this creative process. Sometimes all I have to do is just start work with the clay, and all is revealed!
Since I have been writing about my "critter" art work, as I call it, I thought it was appropriate to show my piece entitled " Red Cat Platter". Here you have two kitties checking out that little creature in between them. I wonder if they are thinking ," Now there is a catch".
I have recently become acquainted with some felines. The older cat often lets out a howl of victory as she drags up an object of prey to her master. No matter that it is a wrapper, she is still the huntress. I'm pleased that these animals still have a wildness within their domesticated selves. I remember many years ago seeing a pride of lions in the wild. My main thought was how similar they are to our house cats.
I like painting cats with their recognizable silhouette. Dog owners want to see their specific breed. Since this is a low fired ceramic piece, I can use brighter and more unusual colors.Who says cats can't be purple?
My platters are fairly large, measuring about fourteen inches across. A nice quality here is that not only can you hang it on the wall as decoration, but it is functional as well. How much fun to get to eat up all the finger food and see these creatures looking at you.
I enjoy making art that makes you smile.
It is springtime in Sedona. The cold front came with the wind and rain. Then it moved on, and the sun started shining. Outside of my studio are blooming the luscious, purple, bearded Iris shown in this picture.
In Greek mythology, Iris was the goddess of the rainbow, attendant of Zeus and Hera. When you look inside of the flower, there are different layers of purples, the light and dark,the whites, and the yellows. That is often the case with colors, certainly in my own arts of ceramics and calligraphy with watercolor.
Your first view often sees the one dominant hue. When you get up closer to the paint, or the glazed surface, often there are layers inside that reveal themselves to the viewer. That is one of the fascinations of the creative process. And no one does it better than Mother Nature.
