Palette Continued

In August, I began a series of oils on drypoint with the personal goal of not ever wasting paint. The palette is an ongoing recombination of leftover colors from previous paintings—so many ways to mix grays. New paint comes in for light and saturated spots. It feels like the linseed version of a sourdough culture.

Northern Print Plate Prep

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From the end of May to the beginning of June, I enjoyed working at Northern Print in Newcastle upon Tyne. The studio, with a full suite of printmaking facilities awards a residency prize at each Biennale. I was fulfilling 2014’s prize and was lucky to overlap with 2016’s awardee Lisa Andrén. Above, testing three copper plates at 100% black for the newest edition. Below, the ferric chloride corner:

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Powdered pigment for ink mixing:

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Aquatinted plates, clean and ready:

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A caged proof:

Finding the time:

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Sketchbucket

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I’ve been making ceramic Möbius strips to use as models for a new portrait series and these 3D “sketches” are starting to accumulate in the studio. With each iteration, I learn more about the form and discover ways in which it can be elaborated. Above: the “sketchbucket,” which casts a continuum of gestural shadows throughout the day and below: some individual portraits.