While in college, my studies drew me in to printmaking as a major. This wasn’t necessarily due to any great passion toward the craft, but rather grew from a love of the process of each of the techniques. It allowed me to spend long periods of time on singular works, but also the option of making more than one of them.
The CSU (Colorado State University) printmaking professors at the time were products of the Chicago school of printmaking and taught many different techniques. This allowed some freedom in subject matter choice and output, but was somewhat limiting because they were looking for a specific “type” of art/artist. Be that as it may, there were entire semesters that I worked on a single piece - and there were others where I created hundreds of small works. I was more in tune with creating single works, as they stood more on the merit of a painting or drawing. Despite having the option to do multiple pressings, most of my favorite works from that time were either a small run, or a single “A/P” or artist proof.
While dabbling with Intaglio and Lithography, I gravitated toward reductive processes instead and chose to work with Lino Cuts or Wood Cuts when I ran out of money. This also allowed for use with multiple colors and relief.
Lack of access to a studio space conducive to printmaking has made recent works limited and rare. Most of what you see here are from the years of 1992-1995. Like many of my drawings from that time, the size of the pieces are fairly large. For example, the Lino cuts below (Solemnity & Ribbage) are approximately 4’ wide.