Decussation Triptych

About the work

Decussation Triptych employs monoprinting as a technique to reveal the artwork’s ʻprintness’, a term first coined by Barbara Belfour and expanded on by artist Miriam Hancill as “directness of the monoprint (inviting)…deep scrutiny of the materiality of printmaking.” This term informs the method and compositional strategies I have developed through the studio, such as layered colour, thick application of ink and creating on a large scale to enable greater scrutiny of marks. Each print from the wider Decussation series announces its difference through texture, rolling patterns and subtle creased idiosyncrasies that change slightly with each pull. The plastic matrix has been forcibly changed from smooth to textured, then back to flat again in its final represented form, which has then been multiplied to intersect with its different representations across space and time. The coloured inks, applied using various pressures, highlight the upwards creases, while the valleys are left bare.