Print Drawing/Drawn Prints

In researching the historic intersections between print and drawing processes in visual culture I became obsessed with short-lived office printing technology (such as copying pencils, carbon paper) that made strange printmakers of folks with no printing experience. These technologies allowed elements of printmaking to be incorporated directly into my drawing practice. I tracked down these tools on ebay and began to experiment. I eventually added grading pencils, hi-lighter pencils, and foil stamping into the mix, and used them in concert with traditional drawing pencils and gouache. The colored lines made with these new pencils are in conversation with the line work present in much of my intaglio print work. The purple copying pencil and the various colors of the carbon paper are in dialogue with, but stand apart from traditional graphite. The foil stamping, with its flats of pigment and range of artificial colors operates in a similar way with gouache, both for me, obliquely reference the screen-printed mark. While still very new, I am interested in how these experiments enhance the interplay between the gestural nature of drawing and the graphic artifactual language of print.

This new body of work extends my interest in mapping connections between materials, visual culture history, and art history. It also brings me toward a more direct exploration of quotidian historical print processes and forms of obsolete labor. Working in a discipline like printmaking, which has historically coopted commercial printing technologies for fine art purposes, Iā€™m looking to see what if any new aesthetic connections might be drawn between these overlooked technologies when used by a traditionally trained printmaker.