I enjoy integrating contradictions, for example controlling the uncontrollable, or letting loose the controllable…the more variables, the better. The Lumetype process appealed to this sensibility. After hearing the process described, I focused in on questions of controlling/letting loose depth and light loss. At the same time, it struck me that any material could be a “plate” using the process, and I began to entertain strange ideas like using a carved stack of paper as a “plate” and about how different materials would “print through” in the process. Curious as to how my predictions of resulting marks would bear out, I began simply by scratching and drilling holes of varying depths of paint fill to assess the impact of depth and light loss. Topographical differences and exploiting light loss resulted in related differences in shades of grey and edge quality in the prints. Next, I used a paper plate as a “plate”. The topographical differences led me back to terms of shape and icons…I use animation techniques in pieces that I construct with graphite and pigment incorporating iconic images, such as animals from cave art, until the forms wear away. I naturally moved to “animating” the “plates” dragging them to capture movement, and was rewarded with a smoky quality that reminded me of my charcoal/graphite work. This observation led to expansive ideas about creating “drawing” tools, such as a hair covered fork, a ward, and a circle, and exploring the potential for “drawing” a plate/print. An early start to this was drawing with a shaped icon, inspired by the Bull from “The Bull Leapers”, a fresco from the Palace of Knossos (Minoan, c. 1500 b.c.e), using different real material – penny, feathers, sugar -- to integrate modern elements with an ancient icon. The drawing a plate/print work continues. I am also excited by the work that I see others doing with the process, particularly with materials and light. I think the Lumetype offers a unique opportunity to meld and carry philosophical ideas with and through process and art object simultaneously or continuously and am intrigued by the possibilities.
- Deirdre A. Fox.