Monique Frydman, Smoke of Darkness, 2017
Etching ink on Japanese paper, mounted on Rives paper
80 x 53 cm (31½ x 20¾ in)
Edition of 8 individual unique monotypes
Initialed on the front (bottom right)
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The technique of monotype printing allows the creation of a repetitive series of similar prints in which each is nevertheless slightly different and individually made. The artist consciously decides of the singularity of each proof, making each of them a unique piece of work.
The requirements for a classical monotype are quite simple: a support (such as a copperplate or glass), ink, printer roller, rags, brush, etching press and paper. Monique Frydman’s choice of paper in this case is very precise: it is a Japanese paper, which has an absorbent, smooth and translucent quality. She also chose to keep similar colours of engraving ink throughout all eight prints: grey, red, brown and blue. For this limited edition, Frydman decided to substitute the press machine with the pressure of her own hand and fingers, to stay close to the concept of painting and of the “intelligence of the hand” and its sensitivity. In this way, for her, the act of printing is transformed into an act of painting. Although monotype printing is originally a reproduction technique, these prints on paper have the same painterly qualities as Frydman’s paintings seen in her Parasol unit exhibition that took place at Parasol unit, London, 7 June - 12 June 2017.
The artist collaborated with a conservator to carefully mount the Japanese paper on a Rives paper for display.
It is very important for me to claim the hand and the sensibility of a painter in front of the mechanical image.
Monique Frydman, 2017.