Abstract monotypes using generative material processes — techniques drawn from suminagashi and Western paper marbling.
Monotype Series 1 (Beginning)
Monotype Series 1 (Beginning)
Black-and-white suminagashi monotypes on washi. Traditional Japanese techniques mixed with Western paper marbling methods — controlled disruption to push form past the decorative and toward material behavior.
Click to view series →Monotype Series 2 (Wandering)
Monotype Series 2 (Wandering)
First experiments with color and varied washi papers. Freely mixes suminagashi and Western marbling — combing, raking, blowing, dragging paper through the bath, alcohol as dispersant. Six selected from a larger body for range of technique.
Click to view series →Monotype Series 3 (Strata)
Monotype Series 3 (Strata)
A return to bold blacks and concentric rings with a reduced palette of translucent inks. Forms are pushed until they resemble geological strata. Each pair is torn from a single sheet of washi and pulled from the same bath in sequence, forming near-diptychs.
Click to view series →Monotype Series 4 (Bloom)
Monotype Series 4 (Bloom)
A first attempt at full-size prints. Inspired by blooming trees. Alcohol as a dispersant. The final piece is a bottom print — pulled from what was left in the tray after pouring out the size.
Click to view series →Monotype Series 5 (Drift)
Monotype Series 5 (Drift)
Borrows more heavily from Western paper marbling — carrageenan size to thicken the bath, alum wash to mordant the paper. The thickened surface allows inks to be shaped and directed with stylus work and alcohol. Pairs are torn and printed in sequence as near-diptychs.
Click to view series →Monotype Series 6 (Gravity)
Monotype Series 6 (Gravity)
A reduced palette — black, yellow, and white acrylic on carrageenan size. Traditional suminagashi rings laid down in alternating colors, then warped by tilting and moving the entire tray, letting gravity reshape the composition. Pairs are torn and printed in sequence as near-diptychs.
Click to view series →Monotype Series 7 (Exogenesis)
Monotype Series 7 (Exogenesis)
First successful full-sheet run using acrylic on alum-mordanted washi. Color schemes drawn from old book endpapers — lapis, bronze, black, yellow. Alum mordant was used to make the pigment hold cleanly at full-sheet scale.
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