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describes techniques where the image is created on a matrix then inked up and transferred to its final support, mostly paper.
Printmaking allows to create multiples which are still original works of art, guaranteed by the limited and numbered edition and the artist's signature on each work.

While there exist many different techniques and a multitude of possibilities to combine them, my work relies mostly on intaglio and relief printmaking.

Intaglio describes mark making techniques on metal (i.e. copper, zinc) where the image consists of the grooves, lines, holes, and traces that are cut and scratched directly or etched chemically into the depth of the plate. While the polished surface is wiped clean and does not print, the oil based color sticks to these furrows, and transfers the image to the paper when run through the press. 

In woodcut or relief print the surface of the matrix receives the color, and every part of the design that shall not print is cut away. I use grown wood blocks, planks, plywood, assembled or reconstituted materials, and occasionally linoleum, that can be hand printed or run through the press. 

In some projects or installations I use my printmaking techniques without pulling actual prints at the end of my preparations. The aim then is an object with an image created as a relief, with the same gouges, and inked up
with the same ink as in a classic edition.

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