The color prints were created by placing acrylic or oil pigments on a glass plate and covering them with a transparent sheet
so that I can observe the process. I then flatten the sheet with a rolling pin in a matter similar to what an etching press
does to an etched plate. I then inspect the results, and move the transparency about in various ways (while still in contact
with the pigments) to achieve the specific textures I desire.
Finally I carefully peel away the transparency. If a specific area needs to be changed, I inflate a small balloon and roll it
carefully over the area. I use a balloon because it does not create ‘edges’ – unwanted lines – in the print.
After it has dried, I scan it into the computer for some final touch-ups or perhaps to print it to a specific size.
In most cases the original transparencies require back-lighting in order for the more subtle textures to become visible.
I have experimented with various back-lighting methods, but in general the best approach seems to be to create prints
from the computer touch-ups.
Frequently the originals are as small as a few inches square, so enlargements also assist the viewer to see various interesting
details. Some prints, even enlarged as much as 1500%, do not lose resolution (a 2x2-inch becomes a 30x30-inch).
Adam Kadmon - Anthropos - Oil Monoprint 3-07
The 2 by-1-1/2-inch original is in the B. C. Vermeersch private collection.
Enlarged prints were included in the exhibit.