Process

During a residency at Espacio Camargo in Buenos Aires in February 2024, I had the opportunity to initiate this project. This residency allowed me to immerse myself in the printmaking techniques that would bring Rojizo to life. I began experimenting with drypoint engraving, exploring different textures and print techniques such as chine-collé, double-ink, and stencil cut-outs. These initial explorations helped me understand the potential of various textures and the ways in which they could convey the intricate journey of the migratory bird.

I then delved into eau-forte etching on a small zinc matrix plate, which allowed me to familiarize myself with the graphic lines and their translation onto printed paper. This phase was crucial for grasping the detailed nuances that would later define the final piece.

The preparation of my final zinc matrix plate involved several meticulous steps. First, I coated the zinc plate with tar ground and baked it to ensure it adhered properly. I then secured the back and corners with tape. Using carbon paper, I transferred my drawing onto the prepared zinc plate and began the painstaking process of etching the design with a point, the longest step of the process. Once the etching was complete, I placed the plate in an acid bath to etch the lines further.

After the acid bath, I cleaned the plate with paint thinner and a toothbrush, followed by alcohol to ensure it was thoroughly clean. I then prepared two inks—one red-orange and one pale grey, reminiscent of the bird's plumage—and coated the plate with these inks. After carefully cleaning the plate to remove excess ink, I cut large sheets of 220g paper to the intended sizes.

The final steps involved soaking the paper in a water bath and then placing it on the press. I placed the inked matrix onto the paper and used the press to create the prints. During the residency, I was able to experiment with various etching techniques and even started two editions of prints.

This residency has been graciously supported by the Canada Council for the Arts.