"Magic Water" Hand-pulled polymer plate etching from original digital collage and stylus drawing on acetate, hand-colored (watercolor). Varied edition in-progress, 2020. Pescia white paper. Print Size 10x14”, Framed 17x19”, POR.
"Poisoned Tree" Hand-pulled polymer plate etching from original digital collage and stylus drawing on acetate, hand-colored (watercolor). Varied edition in-progress, 2020. Pescia white paper. Print Size 14x10”, Framed 20x16”, POR.
"Almost Contact" Hand-pulled Solarplate etching from charcoal drawing on vellum directly etched onto Solarplate, with colored pencil additions. Varied edition of 10, 2018. Pescia soft white and Pescia white paper. Print size 9x18”. Framed size 15x24”. $300 unframed, $350 framed.
"Thrill of Flight (I)" Hand-pulled Solarplate etching from charcoal drawing on vellum directly etched onto Solarplate, with colored pencil additions. Varied edition of 16, 2017. Pescia soft white, Pescia cream, and Arches cover black paper. Print size 9x12”. Framed size 15x17”. $250 unframed, $300 framed.
"Equilibrium" Hand-pulled Solarplate etching from charcoal drawing on transparent paper, directly etched onto Solarplate. Varied edition of 16, 2017. Pescia soft white, Pescia cream, and Rives BFK tan paper. Print size 15x10”. Framed size 22x16”. $275 unframed, $325 framed.
"Depicta" Hand-pulled Solarplate etching from charcoal drawing on vellum, directly etched onto Solarplate. Varied edition of 10, 2013. Print size 10x6”. Framed size 16x11”. $75 unframed, $100 framed.
"Night Behind" Hand-pulled Solarplate etching from charcoal drawing on transparent paper, directly etched onto Solarplate. Varied edition of 10, 2017. Pescia soft white, Pescia cream, and Rives BFK tan paper. Print size 10x16”. Framed size 17x21”. $275 unframed, $325 framed.
"Study of Hands" Hand-pulled 3-color Solarplate etching from graphite pencil drawing on vellum, directly etched onto Solarplate. Varied edition of 8, 2019. Pescia white paper. Print size 16x10”. Framed size 22x15”. $350 unframed, $400 framed.
"Humanography 3 (ex absentia)" Hand-pulled Solarplate etching from charcoal drawing on vellum directly etched onto Solarplate, with colored pencil additions. Varied edition of 6, 2018. Pescia soft white and Pescia cream paper. Print size 19x14”. Framed size 24x18”. $375 unframed, $425 framed.
"Performance in an Ordinary Shirt (I)" Hand-pulled Solarplate etching from charcoal drawing on vellum, directly etched onto Solarplate. Varied edition of 6, 2015. Pescia soft white and Pescia cream paper. Print size 11x9”. Framed size 18x14”. $225 unframed, $275 framed.
Matina Marki Tillman
Artist Statement
The themes of my work draw from my ongoing interest in the human’s response – both psychological and physical – to what has happened or is about to happen. My attempt to capture this in my etchings and drawings is what I call Humanography, a series of explorations of the mood and state of mind. My intention with Humanography is not to portray people but rather to deploy them as essential props in a refocus on the imaginary or everyday personas; the given or chosen roles. I usually recruit either people from my close environment willing to interpret the story, or myself, to create characters that I storyboard, stage and depict. Literature, cinema and the performing arts are my perpetual inspiration, and my characters are sometimes presented as artists themselves. My ultimate objective is to capture what I consider essential: the expression that draws attention to the human condition, and the inner rhythm that holds together the chaotic elements that make up the human.
My prints are my drawings. I usually create my drawings directly on transparent media with charcoal, pencil, or marker, or sometimes draw with a stylus in my own digitally collaged imagery. When the drawings are completed to their finest detail, I etch them directly onto light-and-water-sensitive polymer plates using this more recent (1970’s) non-toxic printmaking technique. With this approach, the artwork is etched onto the plate by exposure to the sun or other ultra-violet light source, transporting the lights and darks of the artwork to the plate as light passes through the drawing. Gently washing in tap water completes the etching process. In short, I directly etch my drawings onto plates using sunlight and water instead of the traditional acid and ground. In this way I create etchings in small editions, pulling the prints by hand from the inked plate as with other intaglio processes such as drypoint, another technique I sometimes use. In my prints I’m trying to preserve traditional drawing qualities: the fine flowing pencil line, the tense nature or velvety gradation of charcoal, and the liquid properties of watercolor media. My editions are usually varied, allowing further exploration of the subject, and for the same reason they often evolve into series.
