Last week, in the throes of downpour, I acquired most of the necessary lumber and building materials to start assembling the various furniture needed for the studio. I started with the most simple: the light exposure table. A basic frame, with ultraviolet lights, a glass top, used to expose silkscreens for printing. I’m happy with my choice because it was a good way to get into basic carpentry.
This week, my aim is to finish up, at the very least the exposure box and the print table itself. The frame is complete on the box, tomorrow I pickup the glass, and tonight I’m going to work on installing the lights. With carpentry, I’ve also gained a beginner’s lesson into being an electrician, as the fluorescent lighting fixtures are all hardwired and have to be connected manually. It’s pretty simple but there is always that split second thought that everything might blow up when you go to plug it in. But, it’s fun!
The print table gives me constant anxiety. Flat, smooth, sturdy and level are what I need and even though I’ve been reassured and readdressed plenty of advice and pointers from many sides (crossbrace, crossbrace, crossbrace!) I’m still hesitant to begin. I think once I lay everything out and stare at it, unassembled, and sleep on the image, my subconscious will process it in some surreal fashion and provide me with whatever insight I need to undertake with success.
I’m quite excited to be so close to fruition! I’m running through my mind the first test prints I want to do to check exposure times and all the other variables that must be gauged in the beginning. Crispness is as important as precision for me. What keeps me going is the moment where I get to begin working with color and pigment, playing with field and area, and really begin to forge a new path artistically. The test card I painted ink on sits atop my favorite painting and the two together are my mojo to truck through any frustration I meet in the next few days.