Tricia Treacy and Ashley John Pigford as a collaborative exploration of the interplay between archaic and modern technologies. The hope was for artists to create prints where the production and material is ingrained in the final products. Here's how it worked:
- More than 25 artists from national and international printshops agreed to participate in the project.
- Ashley built a CNC router and together, Tricia and Ashley created several sets of woodtype that spelled the word "touch".
- Each participant was given paper (donated by Legion Paper) and a set of letters (t, o, u, c, and h).
- Participants created a broadside edition that used the woodtype.
Starting to work seemed to be the only way I was going to figure what to make, finally I opened the box. The wood type that was sent to me was really quite different from traditional woodtype. It was cut along the grain with no attempt made to hide the texture of the wood. I gathered up the stack of older broken type that I had been collecting from the basement of the BAC. I felt there was an obvious connection between the old broken type and the newly made type. I started by laying out the fragments of letters along side the newly created letters, brainstorming...waiting to see if there was something I liked. Waiting for an idea.
|Shellacking the woodblocks.|
|Drying. The sea is on the left, the pour is on the right.|
|Blue, my favorite color. It always has been.|
|The t,c, and h: in lock up.|
|I used the grain of this low-grade plywood a foundation texture for the print.|
|Reduction carving created a new layer of texture (and gave me a blister).|
|Detail of the sea, created with the many layers described: type, broken type, plywood and carved wood.|
|Proof reading and fixing errors in the colophon. The "1" and "l" of Gills Sans are remarkably similar.|
|Below is the final version of my print titled: "ou", 2012, 24 x 14 inches|