in the midst of the viewer stream, tArvis took a moment to talk with me friday night. He told me about the Vanderhook press that he pulls with both hands when he proofs his linocuts. Something like the next photo.
He agreed to be spontaneous and say a few words for this post.
tArvis porter (TP) and karl marxhausen (KM) exchange. Two minutes.
tArvis points to photos of his blog from his smartphone. His PROCESS is deliberate, precise, and manual.
TP: All right, so here is my sketch. Which is drawn out on graph paper. That is how I kind of lay out the design --- And then, here it is, basically drawn out on a grid. --- Then, penciled in. --- Then I go through and actually carve it out. --- That is the finished plate right there. A couple little versions of it. ---
With this particular print, the red goes first. And you can see with my print that everything is really manual. You know, roll out the ink by hand, roll it on the press by hand, and then you actually pull the press, you pull every print by hand.
This is the black screen, so if you look at it there (both screens at the same time) you can see the red goes first, then black. And then hopefully that is the finished product.
TP: Of course, even the registration with this is manual, so --- You just LEARN to EMBRACE the imperfections with it.
KM: So which piece is that in this room?TP: This one over here (pointing to the wall)KM: point it out to us? Can you stand by it?TP: Sure. There it is ! ! Fire 2012 (Chimú)KM: What is your name?TP: Travis Porter.KM: And so, how many prints can you do of that?TP: Oh. I do a lot of small runs. Like ten to twelve. This particular one I left open, because the red and black is so popular that I figure I can come back to a lot. But some of the more colorful ones, they are pretty small editions.
KM: And you were saying just a few minutes ago how, this is not typical of linocuts. So, what difficulties do you have with this particular challenge?
TP: Registering colors!! Typically with linocuts I feel like it is a little freer process, and not so graphic and built on a grid. So..
KM: Is it labor intensive??
TP: Yes. Very much !!! But the thing is, once you CARVE the BLOCK, you got it forever. Cause I spent many a-night carving. And I thought to myself, 'do it right, and you'll have this block and print on it forever.'
KM: Of course, you are proud of it.
TP: Sure. Why wouldn't I?
KM: Who does your framing?
TP: I did. Because I have too.
The interview took place June 6, 2014
at the Opie Gallery in the Leedy Voulkos Art Center, Kansas City, Missouri. Syncretized Patterns ran May 2nd to June 6th, 2014.
More deliberate precision cuts by tAvis at http://theporterhaus.us/
(Hand-pulled vanderhook proof press courtesy of Briar Press, http://www.briarpress.org/?q=system/files/IMG_1393.jpg, The Porterhaus, http://theporterhaus.us/, Fire 2012 image, http://1.bp.blogspot.com/-qxIrogdsZnk/U6EdkhLylYI/AAAAAAAAKGM/_nvIY6ys7S8/s1600/porter.Chimu_Crmsn_Col_grande.jpg,
Fire process, http://tarviskc.blogspot.com/2012/01/fire-2012.html, accessed June 18, 2014)