The "Whirligigs" began as images intuited while looking at a dried seedling for a long time. Occasionally the figure is introduced as both standing observer and randomly revolving object. The atmosphere ranges from solid stillness to rapidly moving air mass and a recurring element is a scrawled irregularly shaped hole at the base of the image punctuating the print like a period at the end of a sentence. These monotypes do not illustrate a story; they are a collection of visual entities and circumstances given up by an object held in the hand.
Being a painter, it should have been an easy transition to the making of brushmarks on a plate but I found as I struggled with the printer's ink on first mylar, then zinc, and finally copper, that the metal imparts some of its cold unforgiving qualities to the face of the work in a way differing from that of canvas to paint. The smooth nonabsobent, nonchanging nature of the copper and the distinctive red that kept glowing up from between the black or venetian red marks laid on it engaged me. I found a terra cotta place as it exists today, peopled by winged figures and marginalized by dark patterns.
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