In the past week I was granted the opportunity to try out the intaglio printing process. In preparation for this I researched Dora Maurer’s work with printmaking as I had heard that she aimed to produce indeterminable outcomes from processes, which is what most interests myself. In my research I found her piece ‘Throwing the Plate from Very High” to be of most influence to my own approach to the intaglio print process, as I too wanted to catch something as fleeting as a moment of impact. My initial brainstorm in the workshop was thinking about how I could capture ice melting through this process, unfortunately this did not seem possible given that water softly shrinking would not mark the soft ground applied to the plate, but perhaps I may be able to do something with water, salt and vinegar that would arrive at a similar outcome once I have a better understanding of this process as a whole. In the end I decided that the best way for me to start using this process initially would be to mimic Maurer’s use of the process but instead of throwing the plate, drop a slab of ice onto it.
This made a much larger mark than both the technician and I had expected which was positive, but as a saw that there was still large pieces of ice intact I decided to continue smashing the remaining pieces onto the plate until there was none left. The spontaneous performance of this was quite exciting, being free to smash blocks of ice as an expression of nature felt liberating and almost therapeutic. The plate took around 40 minutes to get a good etch as I used steel with a very thin layer of soft ground. At first I found this process quite intimidating because of its complexity but once I had inked up the plate and created my first print I felt much more comfortable in the print workshop and I am eager to experiment with the boundaries that this process has to offer.
Despite having got a final outcome from the plate I didn’t quite feel that this piece was resolved yet. In my other studio work I had been experimenting with a more common process of printmaking; photocopying. Using an A3 photocopier I have been manipulating colourful images by moving them sporadically whilst being scanned and working repetitively from those scans rather than the original image in order to expose the colours. I decided to see what would happen if I did the same to this black and white image, but I didn’t feel that it would be right to add more movement to the print as it was being scanned as the ‘action’ had already happened within the image. Instead I decided to see what would happen if I continued to photocopy the previous photocopy of the print as I was hoping that this in some way could visually resemble the process of ice melting.
This is the result of photocopying photocopies of the print 36 times, although changes in the quality cannot be noticed when a photocopy of the previous photocopy are compared, the 6 diagonal copies in the middle show the disintegration of the process concisely. I am pleased with the development of this idea, what I was most interested in Maurer’s work was the way in which she exposed processes and I feel that I have achieved this to some extent here with the photocopies. The repetitive and tedious task of photocopying photocopies exposes the fact that this instant process of reproducing an image has its faults, every time a new photocopy is made the image is manipulated further away from the original and truthful image. For me this is important as I think it could be applied to the way in which society, especially western society, views itself within the natural world. Over the most recent period of history we have found ourselves progressively loosing touch with the natural world of which we are apart of, with the focus of our day to day lives slowly leaning toward technology and ridiculousness, instead of growing to understand ourselves and the world around us.