Ah, the lithograph - possibly one of the most time consuming and thankless ways to make an image of any sort. Essentially slave labour, I have no clue why I stuck with it for so long - five semesters, to be exact. It was in the first semester of the last year of my degree, hunched over the press, wiping off excess ink and making sure the image wasn't breaking down on my metal plate(I had abandoned the limestone blocks earlier, fearing I would crack them and owe the school money), that I had one of those lithographic revelations you often get in the long hours at the press: "why the hell am I doing this? I only make five or ten of these things anyway.....", and I packed up my metal plates, and never looked at a litho press again.
Lithography did teach me diligence though, as well as discipline. It's a rigid process, and a skill that few people have - especially making colour lithos, multiple coloured images, rainbow rolls, lacquer etches, and the whole mess of techniques. I was one of the few students to experiment with black paper, following my obsession for low-light images. Easily the most difficult printmaking process, perhaps that's why I was so attracted to it for so long - the challenge. Eventually though, it became impractical and my ideologies shifted. Still, I came out with some nice images, I think.

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1996, 10" x 13"


1996, 10" x 13"


1996, 10" x 13"


1996, 10" x 13"


1996, 10" x 13"


1997, 12" x 18", 3 colour print


1997, 22" x 30", 3 colour print on black arches paper


1998, 22" x 30", 4 colour print on black arches paper