PRINTMAKING
I utilize my artwork as a vehicle of expression, exhibiting visual thought dealing with social concerns. I believe an ongoing dialogue is essential, through objective voices, to promote and ultimately create social change. This dialogue has existed throughout visual art history through artists such as Otto Dix, Honore Daumier, Jacob Lawrence and with contemporary artists such as Leon Golub, Kara Walker, Adrian Piper and Robbie Conal. My work investigates issues concerning racial politics, social constructs of masculinity and economic social structure. These issues materialize within my imagery through depictions of social groupings, collages of fragmented figures and images combining realistic and mythical contrasts. Invention has always been a key element in my imagery. I rely on emotional and physical memories to articulate concepts. My goal with my work is to communicate my own discontent and concern with the current societal confusion and to instigate contemplation, present dialogue and encourage viewers to work towards combating intolerance.
Polymer Gravure Printmaking
(The Process)
Polymer gravure is a printmaking method which has been introduced within the last ten years. The plates for this process are coated with a light sensitive polymer covering. To transfer an image onto these plates the artist must first create either a drawing or digital print both needing to be on some sort of transparent paper. The plate and the image are placed on the bed of an exposure unit. The drawing is placed face down on top of the light sensitive coating of the polymer plate. The two are sandwiched together underneath a glass cover then vacuum-sealed to make sure they are flushed together. Once the suction of the vacuum is set the exposure unit is calibrated to the proper exposure time and the unit is turned on. The exposure unit will emit Ultraviolet light directly to the plate and drawing. This process will “burn” the image into the plate in a similar way as etching a zinc plate in acid or etching a lithographic stone.
Once the initial exposure is completed a second exposure is required in order for the ink to be retained in the newly etched areas. This is accomplished through a dot screen which is placed over the plate in the same manner as the image. The plate is then exposed again at a different calibration. After this exposure the plate is ready to be developed in a similar manner as a photo negative. Polymer gravure plates are developed in water and usually take approximately two and a half minutes. The plate is then printed exactly the same way as an etching. Ink is delicately scraped into the etched surface of the plate. The higher areas of the plate harboring ink are buffed down using cheesecloth. Once wiped properly the plate is ready to be printed at the etching press.