Warp and Weft

Originator: Kate Higley

I sent unfinished prints made with Createx monotype ink as a first layer and then a layer of Akua over that.

Phase 2: Deb Schmitt

When I received word from Kate that I would be receiving, “3 pieces of the same print” I was very curious. What challenges lay ahead?

Receiving these 3 beautiful images proved that there were numerous possibilities ahead.  I immediately felt like they ought to be ‘repaired’. I loved the whimsy, the color and randomness of all the marks.

I wanted to capture Kate’s beautiful golden color which was also to be found on outtakes of my plant dyed paper (Arches text wove) with drypoint (Akua ink on Pet-G plate) of my great-grandmother’s Columbine offspring.

This image shows the stencils used from my initial print with Kate and Caroline for side B of Kate’s piece. I wanted to retain some continuity between them all as if they were all part of a family of prints.

I left the threads long and random to mimic Kates original print marks. Folding again became integral as I loved the composition variations it offered and the piece needed to fit into the 9 z 12” envelope.

Phase 3: Caroline Loose

When I opened it i looked so complete. I knew I needed to just keep looking. I have in my small studio here, and as I looked at it, it’s rich and delicate surfaces, I saw a box of birch bark I sometimes use in collages of bark, porcupine quills, linen tape and hand made paper.  In those I usually put a light coat of acrylic medium over the bark, but I’m not sure I could to the large piece. I think I would tack it in place with dabs of PVA.  Both are not that pink and sit into the other colors softly. Not exactly archival, which is why I ask.