the images below catalogue some of my work over the last few years, although they don't show all the series i have worked on. when making collagraphs, i like to work with plenty of texture. i have experimented with cloth, palm bark and various papers, embossed paint and threads embedded in modelling paste, and filler used for dents in cars, among other things.
although a press is required to get the full benefit of texture from a collagraph plate, i have made some collagraphs using the hand rubbed method by rubbing the paper with the back of a spoon (which i prefer to a baren), or by using a burnisher or even a stylus: i have enjoyed using the latter, and made several prints using this method. for hand rubbed collagraphs i usually use mountboard covered with cotton or silk. i then cut into the board and also add details with embossed paint; usually pearl paint.
although a press is required to get the full benefit of texture from a collagraph plate, i have made some collagraphs using the hand rubbed method by rubbing the paper with the back of a spoon (which i prefer to a baren), or by using a burnisher or even a stylus: i have enjoyed using the latter, and made several prints using this method. for hand rubbed collagraphs i usually use mountboard covered with cotton or silk. i then cut into the board and also add details with embossed paint; usually pearl paint.
arizona suite again. this print later became the cover print for the arizona sunset book. |
this print looks out of place among the others here, but i put it in because it combines photopolymer etching, copper leaf and collagraph. it was for a group show 'recession,' at unicorn gallery in karachi in 2009. |
from the memory series exhibited at artchowk in karachi. for this print i layered papers of various textures, some with burnt edges, stuck to mountboard. the central motif is thread. |