I started etching in the 60's at Ringling School of Art . It was an after school class and the students had bought the press. My first print was of an Aiken Polo Scene. Since the image is reversed when you print it the polo players which started out right handed after printing became lefties.

It wasn't until the late 70's that I resumed this fascinating art form. You need a press and luckily there was one at Rose Hill Art Center. My next series of etchings were also of Aiken Polo but but this time I drew the image in reverse .

Hercules Seghers has had the most influence on my printmaking . The most experimental printmaker of the seventh century,his etchings had a profound influence on Rembrandt. He regarded each impression of a print as an individual work of art. Even more remarkable than Seghers haunting paintings is his unprecedented experimentation with and manipulation of printmaking techniques. He frequently printed his etchings on prepared (hand colored) paper or cloth, to enrich the color and texture of each impression. Many of his etchings are printed in colored inks;he also selectively painted individual sheets with watercolor washes to vary the effect of each impression,casting different parts of the composition into darkness or light in each permutation. Each impression is individual and unique, a conscious attempt to blur the traditional boundaries between painting , drawing and printmaking.

From one etching plate there are many impressions using different mediums and colors . In one impression I colored the canvas, added color ala poupee to the plate , printed, then moved some of the oil color while it was still wet . The inks used in etching are oil based . Each printed impression is an original work of art as each impression is a unique look.


Etchings in the same series are individualy priced as to the extensive amount of time variation in the production of each original print.