BACKGROUND, PROCESS, AND DISCOVERY
Since high school, I have taken photos of my art, family, and friends. These three subject areas have represented ongoing interests and activities which has defined most of my existence--giving me a reason for living each day significantly up to the present time.
I remember how pleased I felt in my late teens when I purchased a Rolleicord Twin Lens Reflex camera. It quickly became a proactive tool for taking B&W photos related to the vicissitudes of my everyday life.
Besides taking pictures, I developed negatives in the bathroom late at night when my parents were asleeps, converting negative images on to photographic paper. To see the image slowly emerge from the whiteness of the paper was always an anticipated wonder, ready to reveal itself with all its photographic detail. This experience remains profound. It has transformed me to the wonder and magic of things I did not know at the time.
Photography also gave me a socially acceptable identity softening my anxiety in social situations. A camera hanging over my shoulder provided something worth sharing with others when I had little or nothing to say.
Fast forward to 1995, a new printmaking subject of interest came to mind: family portraits and friends. It soon became a major project for exploring personal photos taken decades ago and those taken recently with a digital camera. I began by exploring those photos from an earlier time; converting a few family photos to digital files. To my surprise there were many discoveries and ways and creative possibilities that could be realized from viewing digital files. The different levels of magnification turned out to be better than I could have imagined. So much more could be revealed by probing the digital image. Many unperceived details in the photos, relating to character and attitude were amazingly discovered. This led to the possibility of creating truthful images with the aid of special effects that bring forth a sense of truth, and an expression of humanity to a forgotten image of another time.
By bringing snapshots of families and friends into the realm of art and printmaking, and on a much larger scale then a snapshot, gives the image {people) a greater sense of importance. Large-size prints are exceptionally challenging because they require multiple fragments for their completion including inking, transferring, and registering wet fragile paper-plates to damp BFK paper.
Over the years, I have developed many solutions to rectify unforeseen mishaps, without jeopardizing the quality of the print. Nevertheless, this method is challenging and risky. It demands perseverance , persistence, and fortitude.
The outcome of these prints are different looking compared to woodcuts and etchings to mention a few. It provides a new visual dimension to the print making world, and to the viewer looking at the print itself.
Celebrating my dear parents, family, and friends within the inviolable realm of art is my way of honoring all of them.
Also, speaking from a marginalized world of printmaking, the Portrait series was produced utilizing a seldom, if not ever utilized paper-litho medium in a large scale format.
John Avakian, Oct. 23, 2018. Revised April. 23, 2024
SEE SLIDE SHOW BELOW
Detail of David T. See full portrait in slide show below this page.
DAVID A AT CAFE BLAZE Bleed Monoprint 42" h X 29.5" w
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