This graphic is unframed and includes a blacklight picture light.
My mixed-media graphics blend serigraphy with the offset printing and of course my luminous paints. “How hard could it be?” said the unaware artist. Well, I soon found out. This print is unframed and includes the blacklight picture light.
The process of blending of serigraphy, printed in Hawaii, with offset presses, printed in Oregon, was excruciatingly complicated. I now had to make two sets of color separations, one for each press and the prints needed to precisely align even though they were printed 2500 miles apart. No second chances.
Again, I found myself inventing new fade resistant inks. This time for the offset press. Because I insisted on the extreme archival properties, I now had to invent lightfast inks that did not exist at the time.
Another quirky challenge was shipping. Hawaii was warm, Portland was cold and damp. This caused a slight shrinking of the paper. Not a problem for viewing but for printing registration; a nightmare. I tensed every time I printed. One mistake; a couple of minutes and hundreds of serigraphs could be ruined.
Removing the chill from the air on the Oregon coast, we all huddle around a campfire…warm on the front, cold on our back. A few toasted marshmallows ….sit back ….and just soak in the beauty. I enjoy watching the changing colors of flames rising from my marshmallow.
The “Night Visions” side of this print has the fog drifting away just in time to enjoy a beautiful sunset. For me, luminism still has its original excitement. From the red and yellow flame to the blue wisps rising above the coals…. how else could I paint a fire that looks so hot you don’t want to touch it. It adds another level to the art experience.
Each luminous mixed media print was a labor of love. There were so many firsts in developing luminous art. Each one had its own sense of accomplishment, knowing I had produced something that had never been done before.