I have a long history of extending the boundaries of the photographic print. I like to find new materials to mirror the content of the work. In 1980, I learned this from the Lowriders who choose contrary materials to reference the many layers of mythic identity.
I began to use soft and hard materials: the velvety 19th century hand-coated palladium printing process juxtaposed with steel. Palladium and steel, imagery sandblasted on glass surfaces, and in proximity to broken glass and steel, have all been potent signifiers . Moving imagery in relationship to still imagery can signal change and sometimes transformation.
John B.Schaefer, in The Ansel Adams Guide: Basic Techniques of Photography (Little Brown, NY, 1998 p.223) includes my palladium print Penitente 1982. He writes: “ This extraordinary and creative image combines several photographs and is the work of a master printmaker.”
In 1993 the collaborative photo/video/text exhibition, Critical Mass, traveled by the NM Museum of Art (1993-97), brought the Pueblo World into Atomic history. I used the palladium process to make large scale prints framed by steel, referencing the two cultures I was juxtaposing: Puebloans and Nuclear Scientists. In some cases, video monitors are juxtaposed with the palladium prints. For Oppenheimer’s Chair, I learned to sandblast imagery onto glass through a silk screen process, in keeping with the piece’s Civil War origin story. I continued this process in the Joan’s Arc #1 and #2 work, placing a Cibachrome transparency between two different sandblasted pieces of glass to have a triple transparent montaged effect.
TRANSPARENCIES WITH SANDBLAST
Most recently I have printed on aluminum and linen, and woven imagery into tapestries by a digitized jacquard loom. This has required working with two great print studios: Magnolia Editions for the linen works and tapestries, and Blazing Editions for dye-sublimation prints on aluminum.
ALUMINUM WITH DYE SUBLIMATION
Volcanic Leaf Suspended 2015 dye-sublimation process on prepared aluminum plates. The white-goldleaf of the frame and aluminum highlights in the print are the same zone and hue.
JACQUARD WOVEN TAPESTRY
Jacquard woven tapestry
Jacquard woven tapestry – Magnolia Editions, Oakland California Detail
Amethyst Room 2017 UV Cured Acrylic Inks On Linen