I am so excited to be experimenting with Multiplicity, Soft-ground and Stop Start Etching.
In my last blog post, I spoke about the difficulties in forming a conversation between the marks that were present on the plate. To me, the etch was shouting over the natural striations and oxidisation that I was encouraging to form. Resolved to take an active approach to mark making. Utilising soft-ground, Lascaux varnish, impure water and a pertinent quotation from A Thousand Plateaus I began to experiment.
As the academic year comes to a close and the printmaking studio empties of frantic students I have found some time to begin experimenting with impurities and the rhizome.
I have been very kindly given a number of large, lightly etched zinc plates. My usual practice is to, grain, aquatint and etch zinc multiple times with a deep bite, so the light etch would not interfere with my work, but as I occasionally laminate plates with photopolymer it is best to start with a neat surface.
Whilst graining the plates by hand, using a medium carborundum, block and sandpaper I removed a substantial layer of the original etch. As hand graining with a block is a laborious process I broke the monotony by periodically inking and printing the plates. I thought that if nothing else I would be left with a series of prints showing the reduction of an etch and the appearance of a ghost like ‘nothingness’.