That the surface of a monotype is one of the most unique surfaces that can be achieved on paper is what captivated me 18 years ago; I have been fascinated by the monotype ever since. A monotype is created by a combination of thousands of pounds of pressure, by use of an etching press, inks, special papers, plates, and a painterly technique. It is truly one of the more process driven art forms.
It is an addictive and compelling process that produces an equally compelling result. The amount of pressure applied to achieve the artwork holds its own secrets and is always somewhat unpredictable. It is often the actual piece of art and the process that dictates when it is finished. The particular surface is impossible to achieve in any other process, making the monotype an important part of an exhibition of artwork that focuses on "surface."
My work is abstract and is about process. I work primarily in the "color field" style and most of my recent work is either monotype or encaustic painting....both employ the art of layering. Printmaking lends itself well to the approach I take by layering many colors of ink on top of one another...often my prints are a result of 20-30 passes to achieve the depth I require. I hope that the prints are provocative. It is important that the viewer wants to return again and again.
The subject is typically gathered from a photograph that I have taken... an architectural surface or a plane of color or colors or views from nature... anything I shoot with my camera that is beautiful or interesting. I do not view my work as complicated but it is complex by the nature of the process and completely conscious and methodical layering.
My larger prints are typically a large surface of a printed field of varying subtle colors to create a rich background surface. Then I print many small elements and collage them to the surface of the larger print.... another form of layering