Skip to main content

Kitchen Printmaking

We drove straight from Interlochen last Friday to our weekend house near the Mississippi. There's no TV, phone or wi-fi here (actually, we don't have TV in Chicago, either). All we have to do is tidy up a few dead insects and cobwebs here and there, tidy up after the cats, who have been looked after here while we were gone -- and then we can spend a few days doing a bit of R & R before the rest of a busy summer gets into gear.

For most of the weekend, that just meant sleeping, walking around the tiny downtown area (Mt Carroll, pop. 1500), cooking a meal for some friends on Sunday night. Patty is continuing to work on her novel, while also trying to fix up more readings to tie in with the release of her short story collection in September. I commandeered the kitchen for a day to do another reduction linocut:


It's a commissioned image of the Mallory-Towsley building at Interlochen, home of the Center for the Creative Arts. I did a five colour reduction linocut in four stages:



Here's what the block looked like inked up with the final colour:


This technique works best by hand-printing, so it's easy enough to do this on the kitchen table. The only things to watch out for are: a) the cats, who might jump up and take some inky paws into the rest of the house; b) the kitchen table, which is part of a classic 1950s American kitchen set. Getting ink on that would incur the famous Wrath of Patty -- and believe me, you don't want to see that too often ...


 Subscribe to Praeterita in a reader

Comments

Popular posts from this blog

On my 300th blog post

Crikey!

It's my 300th blog post. And I seem to remember that in my 200th blog post I said that I would start quoting from John Ruskin's "Praeterita", after which this blog was named. Well, better late then never, so quotation number 2 is below.

First, though, some thoughts on this blog and blogging in general. I started Praeterita at the end of last year after reading a book by an art-marketing guru called Alyson Stansfield that recommended it as a means for artists to publicise their work better. But from the start I thought it would be more interesting to talk in a discursive way about my wider interest in art, and artists, and the history of art. After a desultory beginning where I only posted once a week, my blogging habit has now grown to the point where I am posting sometimes twice a day, and more than 45 times per month (helped enormously by the Blogger feature that lets you save blog posts with a post-dated timestamp, so that you can put posts in the bank to …

My worst open studio

Most open studios are notable for nothing really happening. You sit there waiting for people to come into your studio, eat all your nibbles and guzzle the free drink, and then leave after a cursory glance at your work. Usually, the worst thing that happens is that you get stuck in a boring conversation with a dull person,

But there was one time a few years ago when I got into one of these conversations, and quite quickly the person I was talking to started to make homophobic remarks about another artist in the building. After a few minutes, I decided I'd had enough and asked him to leave. He seemed genuinely surprised that I had any objection to what he was saying, which in retrospect makes me even angrier if he thought he had a sympathetic ear.

He asked me why, and I told him I didn't like people talking that way, and I said: "This conversation ended 30 seconds ago." So he left.

So, nothing dramatic like Jackson Pollock getting drunk in a fancy New York apartment a…

Van Gogh on Degas

From a letter dated July 31, 1888:
“Why do you say Degas can’t get it up properly? Degas lives like some petty lawyer and doesn’t like women, knowing very well that if he did like them and bedded them frequently, he’d go to seed and be in no position to paint any longer. The very reason why Degas’s painting is virile and impersonal is that he has resigned himself to being nothing more than a petty lawyer with a horror of kicking over the traces. He observes human animals who are stronger than him screwing and f—ing away and he paints them so well for the very reason that he isn’t all that keen on it himself.”
Subscribe to Praeterita in a reader