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constraint; delight

June 27, 2013 at 7:22 pm

The colors in the prints coming out of the “hand-cut stencils and transparent colors” class keep getting more & more complicated and interesting.

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This is partly due to the students in the class being bad-ass & willing to explore possiblities… but ultimately I think it’s because the project we do is governed by a limiting constraint:

“Two layers of transparent ink, printed on lighter paper, create a third color where the layers overlap. Working through hand-tracing and hand-cutting rubylith stencil film, use these three colors plus the paper color to translate a photographic image into a silkscreened image. Optional: use variations in ink color or transparency for atmospheric or dramatic effects. Expand to a third transparent color if your image demands it.”

As the classes continue, I accumulate a reference group of prints (and test prints!) made with the same constraint, but different compositional / lighting / color strategies — visually demonstrating more possibilities than I (or anyone) could come up with on their own. These provide interesting examples and models for emulation/modification…

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[Buck’s final print, final version, on lighter paper: this print became part of his show at Candita Clayton Gallery, visible till July 1st!]

The constraint allows us to focus on small variables, as opposed to exploring the admittedly infinite possibilities of silkscreen, and learn what those variables have to teach us. I include myself in that “we”; I’m definitely learning as much as anyone…

Katie Bedrosian’s final print:

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Multiples!!

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Here’s Jen Hall’s final print from the first class, which I finally got a chance to photograph:

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This one steps into the territory of three transparent layers; Jen decided that she needed one extra color to create the sky gradient *and* the shading / complexity in the elevated shack…

Lara Henderson’s print, which she worked on as part of the second class, also contains three layers: she wanted both a high-contrasty-shadow effect, and a subtle low-contrast folded fabric effect, and both of those couldn’t be achieved with just two layers. HOWEVER it’s not done yet! Possibly next week (so I hear)! When I can hold a copy of it in my (hot little) hands, I will write a further post & possibly ask Lara to write a little bit about her process & decision-making for it, it was really interesting to be part of that conversation.

If you’re limited to this one medium for creating your transparencies, if you can’t turn to halftones or cross-hatching or key layers to describe things in your image, if you can’t use the computer to help simplify whatever is going on graphically… maybe you feel out of your area of expertise, or like your hands are clumsy in a way they haven’t been in a long time, or like the marks you’re making are strange and unaccustomed. I would like to posit that those moments of seeming clumsiness and inadequacy, and the work that results from them, can be instances of delight and discovery possibly more powerful than those that stem from tools you feel like you already know how to use. Pushing our ideas through a material or a process that resists somewhat, that pushes back, means that evidence of the creation of the thing becomes inherent within it, that the process and the form are integral components of the finished object. I’m trying to find very specific language for this, and not get overly metaphorical… don’t know if I’m succeeding… ?

Some more pictures of humans holding prints:

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Jen Booth, from the first class.

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Katie Bedrosian & Buck Hastings, from the second class…

… maybe it will be you, in the third class???


Unrelatedly (or maybe relatedly, in terms of color/light/spatial worlds): I was psyched to capture this moment of cat in window inside building inside print inside frame inside Emmy‘s house… the print is by Dan McCarthy… the cat is “Stinkeye” aka “Baby Bunny” aka “Walker Mettling‘s Swiffer”…

meta cat

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