Printing Techniques
This year I have started to work with wood print and monotype. This change of media gives me the opportunity to reflect on my work in a new way and to visualise themes differently. I experience the medium of printing as an inspiring extension of my work.
I chose wood printing because wood is a "living" material. It holds the structures, characteristics and vitality of the tree of which it was once a living part. It also contains the lifetime of the tree. It is therefore a structure that refers to time and space in the past as well as in the here and now and everything that is connected with it. When I work with the wood in the form of the printing block, I also work with these structures of space and time. When I carve the piece of wood, I have to react to its peculiarities, they become part of the print and the liveliness of the tree becomes visible in a different way. The printing block also reacts to the ink I apply and the climatic conditions in the room where it is located. Although it is a "dead" material, it is and remains "alive". Each print, even if I always use the same printing block, is singular, unique.
In FRAGMENTS OF TIME - RED I limit the source material to a light, handmade Sekishu Shi paper, a single printing block and a warm red. Within this tightly set framework, I develop the individual works of the series in a playful, conceptual process.
The printing block shows a very moving, simple, horizontal line pattern. In different directions, the prints overlap horizontally and vertically. New patterns and moments of movement emerge. Central to this is that it is about dynamic relationships of forces that are in fragile equilibrium, in an oscillating state of suspension due to the absence of geometric perspective. Visually, one is strongly challenged on the viewing level because the pictorial reality constantly eludes our gaze and reshapes itself. The perception of the pictorial reality refers to the perception of our everyday, very different realities in which we find ourselves as individuals.
This play and simultaneous questioning of reality via perception as a dynamic process is also present in the work RELAXING REFLEXIONS - IN BETWEEN No 1, 2022 and the woodcut, o. T., 2022, which I presented together with RELAXING REFLEXIONS - IN BETWEEEN No. 1 in the exhibition DEEP UP at Atelier Mondial, Basel, Switzerland as part of the print residency Edition / Basel 2022.
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FRAGMENTS OT TIME - RED, Unikate, 2022, Holzschnitt/Woodcut, Öl auf Sekishu Shi Papier/Oil on Sekishu Shi paper, ca. 53/54 cm x 95,5 cm
Monotypie / Monotype, o.T., Öl auf Papier / Oli on paper, 46 cm x 65 cm, 2022
