Pauline Horricks

Here are some samples of Pauline's Plaster Prints

Skinny Dipp'n

Guardian

Coast is Clear

Waterworld

Site 1

Trinkets

Autumn Evening-Poplars

Al l of the above pieces (and more) are available for purchase through this website. If you would like more information, just contact us by way of any e-mail button at this site.

After many years painting with watercolours I decided, in the early 90's, to pursue an alternate artistic path - printmaking. Since then I have also begun experimenting with plaster as an intaglio printing alternative to the conventional etching press. Collagraph pieces in particular really "work" with plaster - the plaster becoming an integral part of the piece as a whole.

Each piece is an original print made from an etched zinc plate or a collagraph plate. It is not a reproduction but an original piece of artwork in its own right.

An etched plate is prepared by:

1. transferring a drawn composition to the zinc plate
2. biting the composition into the plate by drawing with a steel point and/or using various resists and different strengths of nitric acid to eat away parts of the surface to different depths

A collagraph plate is prepared by:

1. collaging various materials or objects onto a plate (either masonite, matboard, or linoleum) in a predetermined pattern to create textures that will have a planned compositional effect
2. sealing the textures onto the plate

Once the plate is prepared by either of the above processes, printing ink is applied in what is called the "intaglio" method. The ink is rubbed into all of the impressions and then wiped from the surface so that raised flat areas are wiped clean (producing white areas) and recessed areas contain varying amounts of ink, depending upon depth and texture (producing grey and black areas).

Normally, these plates are then placed on the bed of an etching press, covered with rag (100% cotton) "paper" and run through the press manually by the artist (one run = one print). Because there is no "original" to be reproduced, each print is considered an original.

Plaster printing of the above plates is not unique, but is a highly unusual, back breaking, "pain in the neck" way of producing an original image. The plate is inked in the above manner, placed face up (usually in some sort of frame) on plate glass, and covered with plaster which is just about to set. During the pouring, I add a piece of screen with screw eyes attached so that the completed piece can be hung. After about a half hour (depending on environmental heat and humidity) the plaster has just set and is not yet "rock hard". At this time, the whole piece is turned over, frame and plate removed, and "voila"...the plaster has picked up the ink, resulting in an original print on plaster. Both ink and plaster are permanent but must be handled with care.

For me, printmaking offers a means of sharing my emotions and ideas, in an original format, with more than one individual - ie. making more than one of each. However, I am happiest when creating new images; when the free flowing thought transfers through my hands to the materials available and the growing design on the plate.