About A Stone

Many years ago in college at UNLV, I was first introduced to printmaking processes and fell in love with the stones. I loved printmaking, the feel of the paper, the sound of the ink rolling out on the glass. Stone Lithography was my favorite printmaking process. I loved the feel of the stones, the process of grinding them to a new smooth finish, the ease of drawing and painting the image onto the stone and the history! The history in the stones for me was something magical. How many works of art had been created, printed and ground away and where did these huge stones come from? It was something that the artist experiences in creating the work but not something that is transmitted to the view in the final work. It was like our own little secret.

Art image shown here is a stone lithograph titled "Billiards Player at Good Dog" by Charles Coates.

At a recent art opening that I was participating in at the Tubac Center of the Arts for the exhibit, "Working With Paper", I was impressed by the printmaking of Tucson artist, Charles Coates. I met Charles at the opening reception and had a great conversation about working on Stone Lithography and the history involved in the stones. He shared a story of picking up a crate of stones with a UA professor and finding work from the 1800's still on a stone. They printed the image before cleaning the stone for new works of art. There is something very powerful about the history and letting go of the old and bringing in the new with stone lithography.

To see more of Charles' work, click here to visit his website.

Wax & Paper

For years I studied and worked in printmaking. I fell in love with the subtle sound of ink rolling out on the glass plate, of the feel of paper, the mystery of the two combining under the press blanket. In college the history of stone lithography thrilled me, wondering who and what had printed before me.

And then one day I discovered ENCAUSTIC! This edible sensuous medium seduced me away from ink and paper like a new lover or drug. I have been painting with hot melted wax ever since. Like a drug addict I was addicted to the luminous vibrant color and versatility of this medium, with the sweet edible

smell of beeswax and the power of holding fire in my hands. But every now and then, I missed the gentle subtle sound of ink rolling out on the glass. I would visit my old love and struggle with how to combine these two loves.

Finally I found a way to combine monotype and encaustic without reinventing the wheel when I discovered: Paula Roland of Santa Fe who specializes in encaustic monotypes. My two loves collide! The spontaneity of monotype, the feel of paper, the mystery of the result from paper on plate. I feel relieved and fulfilled. I create, both painting directly with wax and with encaustic monotypes and then . . . . that sweet little sound of ink on glass whispers in my ear again. If you love printmaking like I do, you know that sound, you understand. Or maybe you relate because your medium or process sings to you, calls your name, seduces you and you must go to it - and I do. And I find . . . . Elise Wagner in Portland, OR. Elise is not concerned about

claiming to be "an encaustic artist" because it is popular. She's been working in this medium for years, and offers a master's level workshop for serious artists. Its not about the medium, its about how that medium can allow you to create the art that expresses your vision. So combining wax and ink she has developed "Encaustic Collographs", a workshop that I am proud and excited to bring to exPRESSive Arts Studio. Back to the press, working with wax, and the sweet sound of ink on glass . . . . please join me for this exciting opportunity at the Amado Territory Ranch in January 2011.

Encaustic Collograph image by Elise Wagner