JANUARY 1, 2016
The Pacific is the main character,
An ocean that takes in the sky in a vast expanse,
It’s body is full of dependent creatures,
Sensitive enough to respond to a dance
with the movement of the moon.
flowing out over the land with foaming consistency,
Coming up in my dreams
to fill lungs with fresh salt air.
Michael found his interest in screen printing early on in high school. The crisp edges, immediate process and the strategy of layering colors captured his imagination. Throughout the following 45 years he challenged his skills by painting screen filler and resist on a screen.
Bringing photographs of sights from along the river, out on the ridges or the coast into his studio, Michael reduces them to line drawings to produce the edition cartoon. These drawing are used as a reference to see through the screen while painting the stencils. There are also more intuitive editions that rely on simpler shapes; textures of foliage, the surface of water, wildlife.
The steps in this process bring expression into the work that is unique to his serigraph production. The edges and color provoke one to see a realist vision. Yet, the image dissolves into brush marks that refute the initial vision.
Presently, Michael lives to hear the waves of the Oregon coast in Yachats, after residing in the mountains of the California north coast for 35 years.
Serigraphy is a fine art term for screen printing. It is a stencil method of printmaking, where a loose woven polyester screen, stretched on a frame, is used to support the stencil. The finished editions may contain as many as 20 layers of stencils. Each area of the print involves making a stencil, mixing the ink, registering the edition of paper on the baseboard, printing and drying.
The images are product of a drawing or a digital print. It is seen as a reference under the screen as I paint the filler or mask on the screen. A squeegee is used to press the ink through the opening in the screen onto the paper below. Depending on the edition, 10-120 sheets of paper are sequentially printed. As I typically produce the entire edition of one screen, the stencils are washed out or reduced to produce the following stencil. The split fountain blends of color are generated by mixing the inks into a well on a sheet of glass with the squeegee, then carefully pull it across the screen for uniform results. In completion, about 10-20% of the flawed work is removed.