Sunday, February 9, 2014

Offical Launch of

Doering Editions finally has it's own website. After working on the project since 2010 it was about time! Amazing thanks to my amazing husband for putting together the site! Exciting times!

Wednesday, November 27, 2013

Doering Editions Presents N.S. Belt Heads by François Morelli

Quebec artist François Morelli and I have been working together since 2010. He needed someone to translate his large and intensely textured ink drawings of belt heads into linocuts. After hundreds of hours of carving we printed the first four belt heads by hand in his studio last year. Photos of that adventure can be found here. François creates his drawings directly on linoleum and I proceed to carve them meticulously. We then print them together.

When my husband and I moved to Nova Scotia in 2012, we took François' newest drawing on linoleum with us and I continued to carve. Over the year, another large one and four smaller blocks followed. Since the spring of this year, François and I had been planning to bring him to Nova Scotia for a session of printing. I discovered that NSCAD University has a very large printing press which fits the most recent blocks. We negotiated and after discussions NSCAD was interested in letting us print in their facilities and combine it with a visiting artist talk/exhibition.

On November 12 François arrived for his 12 day stay to realize and print the newest N.S. Belt Head editions. Below are photos of the printing process.

First of the two large blocks, setting up the Heritage Press in the NSCAD Printmaking department.  

After printing the first proof, François and I carved back into the linocut to make corrections to the original image.

After 4 different proofs we printed the first time on 38x50 inch Stonehenge paper. This is the embossment on the back of the print. 

Paper alignment had to be fixed but otherwise we were ready to print a B.A.T. 

Detailed photos of the carving on the block before printing on the third day. 

Editioning the first N.S. Belt Head.

I did all the inking on all the prints throughout the printing process. 

Finished Edition of 10, 1 B.A.T (Bon à Tirer) , 4 TPs (Trial Proofs) and several proofs on newsprint. 

Then we started proofing N.S. Belt Head 2, again carving back into the linocut to make corrections.

Proof with red correction marks. 

François and I carving away.

Editioning N.S. Belt Head 2. 

Detail shoots of N.S. Belt Head 2.

Printing Process - placing Paper on the inked  lino block

One piece of newsprint for cushion.

Two Vinyl (Pleather) Blankets.



It took us a while to figure out the perfect way to lift the rather stiff Stonehenge paper without any smudging and shifting. 

All four corners at once. 

Finishing the Edition of N.S. Belt Head 2.
Edition of 10, 2 Trial Proofs and several newsprint proofs.

Next up we proofed four little belt heads.
After the first proof, François decided he doesn't like the black background.

Exciting things happen with the little belt head hanging out.
A whole belt head family? 

Lots of carving. 

Clips & Pins. 

Inking and proofing the little guys. 

The first Trial Proof of one of the little heads. 

DOERING editions is honoured to work on this extensive project with François and is excited for further projects.
Thank you to François Morelli, the NSCAD printmaking department, the Anna Leonowens Gallery and everyone who stopped by to say hello during the printing process.
 It's been an adventure and pleasure!

Tuesday, November 5, 2013

Inside Me on display at the Public Archives in Halifax

As part of the Nova Scotia Printmakers Association's 5th Annual Exhibition I spent last Friday and Saturday installing "Inside Me" my printed fabric installation over the span of about 15 hours. The exhibition is held at the Nova Scotia Public Archives  in Halifax and includes over a 100 prints created by Nova Scotia's contemporary printmakers. 

Each time I have installed "Inside Me" it has been an entirely different experience and the results have been new and exciting. This time the installation has grown over the span of two giant swinging wall-doors. So in order to enter or exit the exhibition space the viewer has to pass through the art work.

 This was all of Fridays progress.

 The finished piece. 

 Swinging doors. 

This is the Artist statement for the Inside Me Installation:

{Inside Me

Making the surface transparent; breaking down the borders where the inside begins and the outside ends; pulling the inside out; letting the inside become the surface that inhabits the environment; these are considerations, processes and techniques by which I am trying to understand the entity that is me.

While gestures, expressions, rashes, hives and illness are common manifestations of the body’s complexity on the outside, I seek to imagine what happens beyond. Through my imagining, I come to myself. What if the internal patterns and textures are literally brought to the surface? What if they become part of the environment? Would I discover greater insight and understanding of my body and its intricacies? The interlace of systems, that I call “lacery”, delicately functions together and is so easily disrupted and turned against itself and its elements each to the other.  Each pattern I create is another layer that I extract from this lacery that is inspired by cellular and muscular structures, patterns of blood vessels, the nervous system, emotions, thoughts and feelings.

The “Inside Me” fabric installation brings the image of the body’s mystical interior to the public eye, it invades the public space. It asks the viewer to consider the consequences. What does it look like if our inside would become our living space. Would it be threatening?  Claustrophobic?  Spreading like a disease? Or would we feel liberated and see it growing like a beautiful plant? Would it be ornate and static or pulsing and alive?

“Inside Me” is constructed from fabric that is printed double sided with ballgrain plate lithography, a meticulous printmaking process that takes full body involvement.  Then each piece of fabric is sewn and stuffed into bulbous formations that get pinned together and stretched over shapes of chicken wire. Each time “Inside Me” is constructed it changes and adapts to the space and environment around it.