Greensboro saw a lovely dusting (*dumping) of 8 inches of snow a few weeks ago. My friend Andrea lives a few doors down and joined me for a morning shoot before work. She's also a photographer- check out her work here: http://www.andreawoodardphoto.com/
Blue Mountains Overlook and Craggy Gardens, NC
Amplifier Magazine has this cooool, cool podcast series about folks pursuing creative careers, and a few weeks ago I sat down to answer some questions and try my best to succinctly summarize what I love about making art. This was such a neat experience! Thank you to kind soul and photographer genius Daniel White for hosting, and to the equally genius Jacob Beeson for handling all things audio.
You can check it out at the link below!
Ah! This was SO much fun- thank you to Jesse Akin of Irreálistes for working your photo magic and for putting together this interview. Yay for lady artists supporting other lady artists!
Hay! Excited to share this today. This post walks through nearly all of the steps involved in making my last screen print series. It's three different one-color prints in yellow ochre, pink, and a deep navy. The design, originally a drawing in gouache, is an abstracted archway scene with warped perspectival planes. These motifs plus the color choices are all inspired by 13th-century Tuscan painting (specifically tempera paintings out of Siena. Lil' refresher- that was my undergrad thesis/my baby).
The Trecento Archway in Yellow Ochre is currently on display at the Wilmington International Airport at the B40: Wilmington Artists Under 40 exhibition. A number of these will also be for sale soon, wooo!
Thanks for following along, and please do shoot me an email or leave a comment if you have any questions.
Those giant gobs are not the Blob reappearing, but instead the result of developer not completely reaching a section of the film in its canister. I actually still don't know exactly why this happened, but I think this part of the film was pinned under part of the plastic spool, and just stayed covered during each stage of development, most importantly during the actual developer's coating. This is not the worst of darkroom failures by any means, but it's still a little setback. Thankfully these were taken down the street, so I can go back and try again. :-)
Drypoint is basically: scratch image into a metal plate using varying pressures and angles to create different mark thicknesses, ink the plate so the ink catches the burrs created by the needle, soak paper so the plate creates an impression (like a letterpress effect), then roll it through the printing press. Most of the steps I've photographed so you can see what it looks like.
For my thesis project, I knew I wanted the body of work to span a variety of mediums. I remember drypoint prints being fun, so I decided to make these with some very helpful advising from my printmaking guru dad. (check out his work here. This man is brilliant and having tried some of the methods he uses, I don't understand how he creates these images so flawlessly. I have some *very* spacious shoes to fill. My mom's too––she's not on the interwebs yet but her paintings are incredible. Ah! I love you guys.)
But yeah, this is such. a. fun. method. You can see where my needle slipped a few times, but other than that and some slight burr-blur in the final product, drypoint prints can look pretty sharp. I guess that's an etching needle pun. Ha ha ha
Settled on a concept that worked for three images as a series: receding lines that form tunnels and arches, columns, or parapet walls at the same time
This is a twisted etching needle and a copper plate. You can also use zinc or plastic plates
3. Ink ink ink, wipe wipe wipe (with bunched-up cheesecloth)
You want the ink settled into the burrs, but not coating the entire image
4. Soak the paper
5. Place the plate face up on a registration sheet on the print bed
These plates were small enough to put all three on one sheet and print them at once
6. Place your damp (not wet paper) on the plates, then lay the felt blanket over the paper
(to protect the paper as the roller moves over it)
7. Turn the roll
(thanks to the hand crank out of the frame on the left)
8. Lift the paper slowly and admire your prints!
The last step is stapling the still-damp paper to a board to dry it flat, then cleaning the ink off of (and out of) the copper plate.
bb drypoint #1
bb drypoint #2
This morning I scanned in some weird little Greensboro scenes (my favorite kind!)
I loooove deliberately showing off the parts of a city that aren't and never, ever will be on any of its postcards—the abandoned strip malls with their cracked parking lots and those giant, all-caps "LIQUIDATION SALE" and "EVERYTHING MUST GO" signs that have been sun-bleached that off-putting shade of turquoise (in the style of bad restaurant menu imagery---you know the ones). This Catherine Opie photograph captures this general feeling well, but in black and white:
Here are three of my favorite shots with the Diana mini. (This is it---you can absolutely tell these photos were taken with a plastic toy camera, which I love.)
Helps us formalists and perfectionists surrender a bit of technical control ;-)
I've started going on these mini photo trips a little more regularly, and am thinking of making them a group hang (ie. photo walk). Send me a message here if interested in joining, and we'll chat!
Hey friends. Thanks for clicking this tab! I'm excited to give blogging a second go---my WordPress blog was fine, but the writing was lame (haha) and I like the idea of starting afresh.
This is where I'll post travel photos + blurbs/misadventure tales, art tutorials, photo stories, project announcements, and whatever else comes to mind.
THANKS for joining in! Even if it's just my grandma reading this rn--hey Grandma--I'm excited to get this going.
#stay #groovy #y'all
Here are two snaps from the studio (a.k.a. any available wall space in my apartment)