I've kicked off this project with a workshop at Crown Point Press in San Francisco. I thought that a series of prints or a book of prints could possibly be the form that the work generated by the mights might take. However, seeing as I knew nothing about printmaking (or rather remember nothing about printmaking from undergrad days), I thought it might be fine idea to brush up. And what better place than where John Cage, Tom Marioni, Sol Lewitt, Richard Diebenkorn, Julie Mehretu, etc., etc. made/make prints. Thanks to a grant from the Framingham State University Center for Education Learning Teaching Scholarship and Service (or something like that...CELTSS), I am in San Francisco making prints at Crown Point Press. 

I came with no fixed idea of what I would work on, less concerned with images than with process and

ideas.  I've taken as source images things at the periphery of attention... tape on the floor or press, shavings from deburring plates, etc.  While this may seem all too cerebral, I find it to be wonderfully organic and in keeping with my process/practice. It's a "what it is, is what it means" point of view.

These are the flatfiles for a bit of historical context.

Adrian pulling my first print.

Plate inked and ready for chine colle.

Outside the Aquatint room.

Copper plate inked and ready for the press... I'm going for deep, dark blacks. 

Plates in  process. Blocked out with Asphaltum.

My work station.

Workshoppers at work.