This post is part of Sonya Sagan-Dworsky’s 2024 Lazarus Summer Internship.
This summer my independent project grew from a continued interest in process as a form of artistic expression. As a sculptor and printmaker I am constantly playing with my definition of a finished piece. So much of the joy that surrounds my artistic practice grows from an appreciation for method, material and the act of physical experimentation. I view my work as a visual record of the time and labor that goes into the piece itself and all the materials or tools needed for the piece’s creation.
For my project I chose to focus on relief printmaking because the medium straddles painting and sculpture. Even though the carved block is used to transfer the image onto paper the object can also exist as a piece of art. Reduction prints, a specific method of relief printmaking, requires the artist to revisit the same block and continue carving as a new color is applied on top of the previous prints. The process results in a final print with enhanced visual depth, but also limits the number of editions of the image.
Nori Paste Base
1. Mix 3 Tbsp or 20 grams of rice flour with 100 ml of cold water. Stir and set aside.
2. Heat up 150 ml of water in a small saucepan until boiling.
3. Pour rice flour mixture into boiling water and begin whisking constantly. Whisk until mixture thickens and becomes translucent, about five minutes.
4. Turn off heat and whisk until mixture is lukewarm. Transfer to a glass container and place in the refrigerator until cold. Mixture will last for two to three days.
Pigment Powder
1. Harvest fresh Marigold and Cosmos blossoms plucking flowers from stem.
2. Pack blossoms tightly on the shelves of the dehydrator separating marigolds and cosmos. Set to low temp and dry for at least twenty four hours.
3. Once dry, place blossoms in an airtight container. If desired, separate marigolds by color into yellow and orange flowers.
4. For Marigolds take scissors and cut blossoms away from seed pod minimizing any green material from being cut. For Cosmos either pull petals from the center by hand or carefully cut petals loose.
5. Place a half cup of dried petals into the spice grinder. Begin grinding, adding more dried petals until powder covers blades of grinder. Blend for multiple minutes for a fine powder. If needed, sifted powder with fine mesh sieve before storing in an airtight container.
Printmaking Ink
1. Mix equal parts water with alcohol preferably gin which is best for archival purposes. I use about one teaspoon of each for four prints worth of ink.
2. Slowly add gin and water mixture to one tablespoon of pigment powder until a thick smooth consistency is achieved. If too liquidy, continue adding pigment powder.
3. Mix two tablespoons of nori paste into the pigment mixture with a palette knife making sure there are no lumps. Once smooth take a soft brayer and roll out ink. Listen for a sticky noise and even coverage on the brayer. Roll ink onto prepared woodblock, applying two to three coats.
4a. When using a press, adjust pressure to work with the thickness of the carved block. Place dry paper on top of the inked block and roll through twice stopping in the middle to switch direction. Pull paper off the block and place on the drying rack.
4b. When working by hand, place paper on an inked block and apply even pressure with a barren or back of one’s hand.
5. Pull paper off the block and place on the drying rack.
