The large, fleece covered board has not worked at all. It soaked, bowed and twisted. Additionally, the image did not transfer well on the fluffy surface of the fabric. I had to reevaluate and decided to use overprinting in a variety of contrasting yet harmonious colours. This has worked much better. When I started to blast the image with a pressure washer, the ink run down to discolour the fabric and covered the hideous green frame. I started to alternate printing with painting, image transfer, collaging cutt out photos and pasting them on top of the already complex and sophisticated surface of images and washes; all sandwiched together, coherent, layered and increasently heavily textured.
Yesterday evening, having reflected on the painting process, I considered a range of alternatives. Through brainstorming, I developed a plan to enhance this composition with a central collage using a photo of a Haitian child. I immediately started to overprint the existing composition before blasting it again and over again.
I am so intrigued by the complexity of this process and the value of the accidental mark, which can be achieved through this type of experimental printmaking. I continue to search for visual sensitivity, which is valued and treasured.
Ultimately, my creative intention is to communicate that we are all waiting for change, for this special moment , which has the potential to improve prospects for the future.
Noone wants to be uncertain of tomorrow.
Certainty is much more valued and treasured! Certainty is secure and safe.
Does it exist though?