I saw this guy at a farm late last spring. Needless to say he had a lot of character so I thought I would attempt creating a collagraph of him as he peered over the fence. Arthur Osver would have called this print one of my "whipping posts" since I have modified the background many times. I think I will leave it here for now. On to something else.
After looking at several of the fish that I posted quite some time ago I decided I needed to take them farther. I added more color & texture to the piece on the bottom. I thought the background needed more attention. If you click on the fish you will get a larger view and will hopefully see some of the layers I have added. Originally colored tissue paper was glued to the paper prior
to printing the plate composed of various textures to define the fish and the border (black ink). Once that was established I printed multiple layers of texture on the border and most recently I printed several layers of color on the entire background. More modified fish to come.
Thirty years ago I started my exploration of techniques and use of color both in printmaking and in painting. While first at the University of North Carolina at Greensboro and then at Washington University in St. Louis I learned printmaking techniques including lithography, block printing and etching and was later introduced to collagraphy. Coupled with an intensive curiosity about the printmaking techniques came a great interest in exploring spatial relationships and volume with my oil painting work.
My subject matter has tended toward still lives. My early work was predominately about pottery and reflections and their inter-relationships. These provided a good avenue to explore color and play with spatial relationships. Color is all important.
Over the past 15 years I have exhibited my work in numerous major cities and am included in many corporate collections. A sampling of the corporations that have purchased my work include: Allied Signal Corp., Cigna, Citicorp, Marriott Corp. and PepsiCo, Inc.