For this piece, I glued copper leaf to mulberry paper using a special adhesive and then burnished it flat.
More information on gilding
To make this piece, I inked one set of birch plywood plates laser-engraved with a photograph of insect-damaged bark in white and printed them on the gilded side of the print. You can see the white spots from these blocks in the detail image to the left.
On the back, I printed another set of birch plywood blocks laser-engraved with a different image of bark. Instead of inking these blocks, I dampened my gilded paper, placed it on a freshly laser-engraved block, and ran it through an etching press. The press transferred the charred wood to the paper, leaving a physical texture as well as the color and smell of the burn.
More information on relief printing
Polyester plates are as thin and flexible as paper, feel like plastic, and are made to go through a laser printer.
Inking the plates is a lot like printing a traditional lithograph. We moisten the surface of the matrix with a sponge and then roll over it with a greasy ink. The ink sticks to the laser toner, but is repelled from the blank plate.
To print these plates, I placed the inked plates face-down on my gilded paper, placed some backing paper on top, and ran the pile through a press. The pressure transferred the ink to the paper, making a physically flat mirror image of the lichens on the plate.
More information on lithography
An Aubade is a morning song.
I see music in the looping calligraphic text that flows over the front of the print and the syncopation of spots (lichen and bark patterns) on both of its sides.
I associate the coppery colors of the print, along with its bright, large shape in the center with a sun at dawn and the glowing colors in the sky.