|Collage by Lynn Behrendt, 2012|
About Issue #6: Chine-collé
The first time we took a stab at Peep/Show, the paper slipped into the wrong place when it went through the press, exquisitely saturated in black and white. We delicately placed each mark by hand. There might be digital writing on Andromeda and Perseus, an etching with aquatint, spit bite. There might be small folded sheets of handmade Kozo papers in blues and naturals. There might be magical secrets about pasting, printing, mounting, leafing.
We’re talking about a special technique in which an image is transferred to a surface that is bonded to a heavier support. Place thin pieces of colored paper, cut or torn to a desire shape into position on your plate, then glue the paper and print with elements such as drawings or rice. This should be performed by an experienced conservator because possible delamination may occur.
A rough translation might be “thin paper attached with glue.” Wheat paste, thinned. There is hand -rubbing over your anatomical heart, your rib cage. This is a pink chair portrait on hand marbled paper, on a solar plate called “Togetherness” or a one-of-a-kind sunflower in a series of 32. Obsessed, we've been locked away, experimenting, adding visual embellishments.
We’re talking about engaging the surface, woodblock prints on Nepalese paper, antique Japanese prints, on atsu kozo gami paper with black morita kami chine-collé. There might be a trajectory that involves pieces of a dream, a thin sheet, fish, an investigation into a processional sIide.
Either we’re playing in traffic or cashing in on the American dream. We love birds and even this buzzard that was etched onto acetate before inking up. We love winter apple trees, their monotypes in sugar-lift, aquatint, soft ground. Our speed is infallible, an infallible etching as long as an hour.
—Anne Gorrick & Lynn Behrendt, Curators
August 11, 2012