In an attempt to add "more" (meaning, visual complexity, etc.) to my work, I decided to use my own corrupted version of printmaking on clay. The thought process went something like this: I enjoyed creating monotypes and monoprints in grad school, what if I took those ideas of making and used them on clay. From there I had a liberating sense of the possibilities of experimentation. Most of the results fall into the category of "the bad stuff you make in order to get to the good stuff." I don't know if I would classify the plates to the left as "the good stuff" just yet, but they are definitely on their way. I am very encouraged by these results, but am skeptical as to how well this process will translate to forms that are not flat or slightly curved. Those experiments begin today.
In an attempt to add "more" (meaning, visual complexity, etc.) to my work, I decided to use my own corrupted version of printmaking on clay. The thought process went something like this: I enjoyed creating monotypes and monoprints in grad school, what if I took those ideas of making and used them on clay. From there I had a liberating sense of the possibilities of experimentation. Most of the results fall into the category of "the bad stuff you make in order to get to the good stuff." I don't know if I would classify the plates to the left as "the good stuff" just yet, but they are definitely on their way. I am very encouraged by these results, but am skeptical as to how well this process will translate to forms that are not flat or slightly curved. Those experiments begin today.
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