Why is the piece titled 'Liquid Form.' -
The title of the print narrates the liquidation of the human form, the loss of structural integrity through a surreal lens. I opted for composing a distorted design to replicate the the unseen deterioration of the macular behind the retina of the eye. This particular print refers to wet macular degeneration especially causing blurred vision and blind spots within the visual field. Ironically the print remains stagnent within the border of the paper, undisturbed.
Prior to this project I had little experience in Lino printing and didn't especially enjoy the process as I found it tedious and hard to control. In the past I had gauged too much linoleum resulting in the plate to tear from excessive abrasions to the surface, as well as a confusion as to what I was printing and having to recall what sector I should refrain from carving and such. Fortunately I began designing my work over paper rather than straight over the linoleum, allowing room for error. Upon designing the print on paper, I then utilise the carbon print method in transferring my design to the linoleum. I have learnt that I should not mark areas of printing prior to the carbon application, due to chalk going all over the linoleum; instead I am to only transfer the line drawing over to the matrix. Luckily, chalk can be easily removed from linoleum so excess is not an issue. Once transferred I then mark up the areas that will be kept (black) and avoid the whites. Using smaller blades has worked tremendously in carving the linoleum as I have acquired a better sense of control both mentally and literally over the Lino. I find soft cut Lino, as the name implies to be easier to gauge into, but control is limited as the surface is more slippy and malleable. Though it requires warming, the harder Lino backed with hessian portrayed greater success as the hessian provides further assurance toward stability and mildly controls the malleable nature of the linoleum.
In regards to any benefits I have gained in commencing in exploring lino printing further, I have became a better printmaker in relief printing. I have always employed the intaglio processes opposed to relief, as I had thought in the past that detail could not be captured to its full potential within the relief process, however I am most definitely wrong. Though intaglio process allows me to draw each and every line that I wish to, I can still do the same through relief over a bolder altitude. As mentioned earlier I chose to explore relief methods of printing in order to provide a tactile format of display for a visually impaired and blind audience to interact with.
Exhibited below are the 'Liquid Form.' series prints, I found the print process to be somewhat difficult given the amount of linoleum that was raised toward the surface. Regardless of how much ink was distributed across the linoleum there were still areas in which the ink hadn't picked up, resulting in a sparser print. I had attempted pressing the print by hand and using a baren to further aid the ink blotting, unfortunately to no avail... However I had realised I could utilise my finger to smudge the background in order to eradicate the sparse imprints made over the board. I was mildly concerned that the oils distributed from my fingers may impact the printing ink during the drying process ie. oil smears over the inked surface. Fortunately the prints have been unaffected by the oils from my fingers, resulting in a perfectly matte finish.
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