Tuesday 05 : December Filed in: toMAKE™ | Personal
Back on the press, back to the practice and process of making; the Gift of creativity. I say back because it has been a rather challenging and stressful year in this regard. I’ve been unable to give the attention and care to this essential practice in my life. Life had other plans for my attention this year and now I’m in that wonderfully dark night time of year where the stars are bright . . . and here in the intermountain west the nights and mornings invite me out on a cold run in the hills or along the river. Finding a way back to this grand show, this edition arising from the shinning mountains of Glacier-Waterton International Peace Parks . . . and all the beauty of open space that is currently under siege, under development, under disrespect.
This grand show is eternal. It is always sunrise somewhere; the dew is never all dried at once; a shower is forever falling; vapor is ever rising. Eternal sunrise, eternal sunset, eternal dawn and gloaming, on sea and continents and islands, each in its turn, as the round earth rolls”
John Muir | John of the Mountains: The Unpublished Journals of John Muir
Relief Matrix and Flocking from Generosity & The Way Across | Edition #109
Wednesday 22 : November Filed in: toMAKE™
Starting over, cutting my losses of time and materials . . . but regaining my artistic voice and control of the edition.
An island or isle is any piece of sub-continental land that is surrounded by water
Thursday 09 : November Filed in: toMAKE™
Emerald Green and some Tint Base . . . but I had to stop the run because the blue ink wasn’t completely dry and was causing some, too much, scumming.
Edition papers ready for more ink!
Tuesday 07 : November Filed in: toMAKE™
Checking the registration on ‘The Island.’ Editioned the water base in [ Imperial Blue + Litho Varnish #7 + Tint Base + Setswell ].
I made a relief matrix from cardboard. Gaylord Lake will be printed on the chine-collé in a clear tint base or varnish.
Proofing the varnish matrix of Gaylord Lake and the island.
Friday 03 : November Filed in: toMAKE™ | Out & About
The edition “The Island” will have a chine-collé with relief matrix over the lithographic layers. I’ve started to draw out the island and Gaylord Lake on the matrix.
Out & About south of the river today Noteworthy Paper and Press has reopened their newly located & renovated gift and print shop and it is wonderful.
Tuesday 31 : October Filed in: toMAKE™
Mixing ink and trying to make some sense of the world that surrounds, penetrates and encompasses me while editioning one of the three water matrices for ‘The Island
’ edition. Imperial Blue + Tint Base + Litho Varnish #7 . . . . each their own spatula inky !
“Don’t let us forget that the causes of human actions are usually immeasurably more complex and varied than our subsequent explanations of them.”
F. Dostoevsky | The Idiot
Tuesday 24 : October Filed in: toMAKE™
Thursday 19 : October Filed in: toMAKE™
Thursday 25 : May Filed in: toMAKE™
I find, after all these years, I am a believer—
I believe what the thunder and lightning have to say;
I believe that dreams are real,
and that death has two reprisals;
I believe that dead leaves and black water fill my heart.
I shall die like a cloud, beautiful, white, full of nothingness.
The night sky is an ideogram,
a code card punched with holes.
It thinks it’s the word of what’s-to-come.
It thinks this, but it’s only The Library of Last Resort,
The reflected light of The Great Misunderstanding.
God is the fire my feet are held to.
by Charles Wright
Edition #109 Generosity relief block proof on Kozo with flocking.
Edition #109 Generosity relief block proof on Kozo printed in varnish on draft of print.
Thursday 11 : May Filed in: toMAKE™
I used #4 and #5 Korns crayons to draw the shimenawa on the aluminum plate matrix. I under etched the crayon drawing using just gum but did put TAPEM on the non-image areas. After an initial rollup, hopefully successful, I’ll re-etch the plate with a stronger etch.
Wednesday 10 : May Filed in: toMAKE™
You might conclude that my “maps” are fictional imaginings or inaccurate by today’s mapping paradigm standards … but this is not at all true. I spend a good amount of time to insure that they are topologically accurate. Not only are they responses to real places where I have stop’d to see and to experience but I also consult other materials both historic and current. In the case of the current edition all the passes that I can identify as supporting human crossings are marked in their respective topologically correct location. The matrix that depicts the shimenawa wrapping of sacred space also indicates a correct topology of the access corridors into and out of the space. It is likely that this is why so few people understand what I am doing when I construct a mapping response to a place. The response is not a typical map in the modern sense of the term. Below is the mylar draft showing the shimenawa and access points. This process of making a response takes time, care, and, I believe, is an original map making (a rejection of modern gis-gps-cartography).
Shimenawa :: the wrapping of sacred space. Mylar draft for the edition #109 ‘Generosity.’
Saturday 06 : May Filed in: Personal | toMAKE™
I read somewhere that Calder worked every day in his studio. I wish I could say the same. Somedays I suffer such depression it is difficult … everything is difficult. I thought today that I would see the ‘divide litho’ run completed on the ‘Generosity’ print but I was slowed by a scumming plate and I stopped the run to re-etch the open areas. The first print went fine, just the plate scumming during subsequent inking.
So I proceeded with the layout for my initial idea of a shimenawa; used to indicate a boundary to something sacred, thus there be a sacred space called Glacier-Waterton International Peace Park! This is indicated in a stylized manner on the companion print ‘The Way Across’.
There are places, like this, that must be wrapped by shimenawa. We are such a selfish species. In her “Memorandum to the Animals” Amy Leach says “If you are concerned about the devastation of your genetic type and you do not see your name on the Keep-Alive List, you might think about clumping some vegetation together into rafts on which to rescue yourselves… Anyway, we need the space for our works and wonders. Many of you are being superannuated because we must give priority to our machinery, our televisions and computers and refrigerators and cars, trucks, airplanes, combination microwave/convection ovens with auto-time zone adjusters. We will still bring a few of you with us, especially those of you with rumps and ribs (please refer to the Keep-Alive List). But we are not going to waste time holloing for the bush babies, waiting for the mayflies to drift in and the kiwis to materialize. We are certainly not going to stand around until the tortoises figure out what’s going on.”
Friday 05 : May Filed in: toMAKE™
I spent some effort today mixing the ink for the continental divides matrix (I transferred the relief print onto a litho plate) on the ‘Generosity’ edition. I had anticipated flocking the wet ink but decided instead to use of stiff black, Graphic Chemical Crayon Black, mixed with Litho Varnish #5 and Hanco Master Palette Fire Red. I’ve got to stop this seemingly endless matrix making. Now I want to add a border to the edition as I am not using the ‘The Way Across’ border on this print. You can see the ink draw on the lower right on the mock-up below.
“It is not down in any map; true places never are.” Herman Melville | Moby Dick