Prints

relief stamp on New Yorker.

Drawing and painting have an immediacy that printmaking doesn't possess. The very nature of creating an image with tools or chemicals on a wooden block or metal plate (the matrix) which prints in reverse is a bit tricky to comprehend in the beginning. Choosing the right paper, getting the proper amount of ink on the matrix and printing it smoothly and consistently are all important. The technical processes and esthetic considerations of printmaking offer a certain detachment to the final product that one doesn't quite have in drawing and painting. That moment during the culmination of hand printing (or hand-pulling through a press) when I peel the paper from the printing matrix (copper plate, wood block or litho stone or plate) is always exciting. The majority of my prints in recent years have been large relief woodcut prints, some nearly eight feet long and three feet wide. I love the graphic qualities that are relief prints. Show here is a sampling of my prints in intaglio, relief, lithography and monotype processes.

"Wolf Lace" relief print.