To be utterly truthful, I was really disappointed in my performance during my silkscreen class last semester. I love the printmaking department, and my instructor was great (though the size and noise level of the class were both insufferable and I found many more reasons to hate people in general), but I think I just didn’t take advantage of the class at all. I’m glad that the biography project that I posted about came out good, but in general I felt like, considering how much time I had spent on printmaking for my ‘A’ Level Coursework, the least I could have done was really create some amazing, complex prints.
Anyway, we had to create a print based on overlapping transparent inks. Not wanting to just grab any random graphic and create a CMYK print (and having a hard time visualising colour in general), I decided to experiment with overlapping very very very transparent black in order to create a sort of grey gradient. I chose to do this on tracing paper, which I experimented with in my work for PLACE last year, as well as with a smoother, less-likely-to-crinkle material called denril – a translucence upon translucence if you will. The results can be seen below. I guess in some way I was thinking about Hiroshi Sugimoto’s photographs of the sea, of some kind of idea of fading memory, of a minimalism infused with a certain melancholy.
Unfortunately, my prints were not sufficiently dry when I stacked them together, and a lot of them got stuck. It was going to be a very loose collection of prints, but now it has accidentally become a gigantic flip book. It didn’t succeed, but I think the technique will come back to me somehow, when I least expect it. I hope so at least; my creative production and motivation is currently below zero.