I’ve been trying to combine monoprint techniques in the latest sample for the mini series that keeps growing (‘Not all Wounds are Visible’).
To keep developing techniques I have been running the project exercises simultaneously. I have enjoyed the freedom and spontaneity of ex 3.
My first sample (the orange block) was completely unsuccessful. Back drawing onto the gelliplate with acrylic and printer plate does not work. So I had to have a rethink. Having no glass plate to hand, I found an old vinyl stick down floor tile. The surface has a mottled texture which interested me too.
Top row left to right: failed sample 1 on gelliplate. sample 2 Biro case used to draw (vinyl tile plate); sample 3 suprasemic writing, sample 4: biro lid held sideways and smudged across plate, then developed on bottom row with layers of 2nd colour and biro edge, then finally biro point.
after this: onto cotton fabirc: first failed sample – too much acrylic, then fingernail traces, the sample face down on plate drawing the spiral motif and finished print;
This encouraged me to explore different fabrics and to take a ghost print too. Using suprasemic writing and spiral motif : first picture show the sample face down on plate – the backdrawing begins to bleed through very rapidly.
On to different weight fabrics: I like the suprasemic text on the dyed cheesecloth. The sheer fabric was difficult to work (top left) and left a sample that works as a base layer.
The sample in the bottom row encouraged me to write on the blouse. To air all the grief I feel at the wounds that don’t show, but in the script that cannot be fully decoded:
It felt reminiscent of shirt-signing session when we left school. The mark-making recalling an earlier moment of end-marking and beginning-hoping when I left secondary school. The backdrawing was done to the under surface of the blouse, but it stained through in a pleasing way to the front.
This is the beginning layer of something that will have much more story and combination of print techniques.