toad in the hole studio

Each of our 30 cows has a unique personality, temperament, and character. They are all quirky, gentle, stubborn, and smart. Since I am around them every day they are not wary of me and I have a unique vantage point from which to observe them. These intimate portraits are a result of that relationship.

These are limited edition linoleum cut reduction prints. The reduction method of block printing to achieve multiple colors from one piece of linoleum is a very difficult and often frustrating process. Each color, starting with the lightest, is achieved by first carving away the areas of the linoleum block from which the previous color has been printed. In most cases the lightest color is white, the color of the paper. So the first step is to carve away from the linoleum all the areas that are to remain white in the finished piece. The next lightest color ink is then rolled onto the entire block and printed. This step is repeated with each color, carving away all those areas of each previous color which are meant to remain in the finished piece. With each color printed, the block must line up perfectly atop all the previous colors before pressing and pulling the print. Each color must dry for several days before the next color is printed. By the time the last color, usually black, is printed, there is very little left of the block. This is why once an edition of reduction prints has been made, it can never be made again. The more colors, the more opportunities for mistakes, and the more time is involved in the creation of each finished piece. Reduction printing forces the artist to constantly think in reverse by always being aware that not only will the printed image be transposed but that the negative space being carved away, is actually positive space on the paper and in the finished image. 

I have been painting with watercolors for over 35 years, for most of that time on paper. A few years ago I discovered Clayboard, a wood substrate that has been primed to accept watercolor and I really liked the new possibilities it opened up. More recently, however, I discovered Daniel Smith Watercolor Ground, a gesso type substance which can be applied to pretty much any surface making it suitable for watercolors. I am hooked! I love the way the watercolor behaves on its surface, as well as the ability to wipe away any unwanted areas of watercolor, even after drying. But what I really love is the texture it adds to a watercolor painting. It's my new favorite thing!

I go through a lot of paper, especially printmaking paper which I am usually ripping down to smaller sizes. I am therefore left with lots of odd sized bits and pieces which, given how expensive it is, I can't bear to throw out. Often I use those scraps to experiment with new materials or just for warm up exercises. These are some of those little scrap paper pieces.

printed in Caligo inks on hand ripped Rives BFK paper, each card measures about 4.5"x5.5" and is blank inside.

Some exercises from a few years' worth of figure drawing sessions at the Southern Vermont Arts Center in Manchester Vermont. Charcoal and/or pitt pencil on paper.