Background of the Collagraph images
In 1993 I started a series of figurative Collagraph
prints. The Collagraph plate was fabricated out of sheet aluminum. It had been
cut, stamped and embossed, distressed, riveted, stitched and stapled to form an
overall image . Inked impressions were taken from this plate and stand either
as unique impressions as in Personage #5 , Head, Reversed Head and Ghost Head (the
Collagraph plate was reversed and printed) , Personage #2 and Personage #6. Other impressions were cut apart
and recombined and used as a basis for further development as in Personage #6, Can Head and Personage with Horn, Minotaur. In " Can Head", inked impressions were taken of common street
debris and collaged onto a unique impression.
The very physical act of distressing the aluminum and forming the
Collagraph plate that would eventually
be inked and from it, a print lifted, seemed in away to produce the foreboding
images that were still a part of me. The images were
dark, as if I were uncovering a dark
mystery or persona . The intrigue has
always been in the act of uncovering and
freeing the images suggested by debris scattered, embedded in asphalt and the
forces of compression that act upon it. the images were always figurative, always
from a dark place. They are the dark images made visible, a personal mythology
uncovered, a persona representation if you will, of self. Jungian associations that seem to lurk
just beneath the surface of consciousness.
I have always been intrigued by the images that I see when I view debris that I find scattered about the street or embedded in the asphalt, as well as the forces of compression that act upon them. The images almost always become figurative for me.
Early constructions below (1986), which eventually led to the collagraphs, represent a constructivist philosophy. A simple and most direct approach utilizing cardboard as a preliminary material that facilitates spontaneity of construction and establishes surface considerations. ( the material can be cut, scored and structurally folded; torn exposing the plys producing textured surfaces; laminated, bonded and riveted) this establishes a visual dialogue between the seemingly random cut and torn shapes and the structural disciplines that develop with each piece. The consideration of fully realized works in permanent materials expands the potential, i.e., direct burn out casting, laminating, casting of component sections, galvanizing, scouring, abrading, electrolyte-plating, acid resists.