Through experimentation, comes new threads of work. I started printing on plywood a few years ago, returning to it periodically, before more fully committing to it over the last year. I started big (I was once told by a peer, to scale up my work) – works as big as 4' x 4' took shape. Even a big 4' circle - which features text from my chapbook Manifesto. That piece has hung at the head of my bed for the better part of the past two years. It's a constant reminder to keep pushing myself. It works.
I carved a couple of full alphabets out of soft-block. This is what i'm inking up and using to print on both white gessoed and underpainted surfaces.
So, with an eye to a couple events happening this fall (AGPs 37th Kawartha Autumn Studio Tour), and my December show at ACME, i've been writing and collecting words, and hauling my tools out onto my front veranda and making marks on plywood.
If you know me, or my work, I do enjoy forcing the viewer to pay attention, and parse out the message. It requires attention. Through experimentation, i've begun to distort and screw with the letterforms, pushing the limits of readability. I am really digging it.
I have to mention the artist Christopher Wool - who's work i became aware via a peer whom I showed the work to, after i began going down this rabbit hole, I celebrate his work, and I'm clearly influenced by, but working hard to push it in my own direction. I am drawn to the minimalism, the stark blacks and white, but giving it a spin with a soft, diffused palette of colours. Content-wise, i'm giving them my own spin, local references, personal reflections, et al.
Blog image: World's Best, 24x24 inches. Relief printing on plywood with black ink on gessoed panel.