(Submitted by Ingrid Mueller)
Loree Ovens has an extensive background in printmaking in a variety of formats: etching, lino block, collagraphy and silkscreen that is influenced by textile design, having received an arts diploma from Sheridan in fabrics. She subsequently attained her BFA from OCADU in printmaking. She specializes in intaglio techniques, especially that of copper etching, aquatint, drypoint and collagraphy.
Collagraphy is a printmaking process in which materials are applied to a rigid substrate. The plate can be intaglio-inked, inked with a roller or paintbrush or some combination thereof. Ink or pigment is applied to the resulting collage and the board is used to print onto paper or another material using either a printing press or various hand tools. The resulting print is termed a collagraph. Substances such as carborundum, acrylic texture mediums, sandpapers, textiles, bubble wrap, string or other fibres, cut card, leaves and grass can all be used in creating the collagraphy plate. In some instances, leaves can be used as a source of pigment by rubbing them onto the surface of the plate. Different tonal effects and vibrant colours can be achieved with the technique due to the depth of relief and differential inking that results from the collagraphy plate’s highly textured surface.
Collagraphy is a very open printmaking method. The ink may be applied to the upper surfaces of the plate with a brayer for a relief print, or ink may be applied to the entire board and then removed from the upper surfaces but remain in the spaces between objects, resulting in an intaglio print. A combination of both intaglio and relief methods may also be employed. A printing press may or may not be used. (Wikipedia)
Loree used an aluminium plate dry point scratched a pattern into the plate. She subsequently printed then applied different colours, using an oil-based ink (oil doesn’t dry too quickly), to the same plate, producing an attractive, simple print that was remarkably lovely.
As DVAC has a very active and talented printmaking group, the demonstration Loree gave was popular, but it resonated especially with those not currently practising. The Monday Print Making Group may increase in attendance as a result of this demo.
Loree’s work can be viewed on her website at www.loree.ovens.com
Loree is represented by David Kaye Gallery at www.davidkayegallery.com
She also conducts workshops at Open Studio www.openstudio.ca,
Articulations drypoint AGO www.ago.ca and The Japanese Paper Place www.japanesepaperplace.com