Marilyn Wylder Wylder A few years ago my focus on drawing and photography expanded to printmaking; a beauty of this medium is that it allows me to render a single image in multiple ways â&#x20AC;&#x201C; convenient for one who likes to improvise and consider alternatives. The prints in my editions vary in greater or subtler degrees, but no matter how great the variation the original image shines through. This is a search to describe something ineffable and elastic, often illogical -- like the part of us that dreams My work often draws on urbane imagery, particularly the scruffy, mundane details passersby barely notice. I take a digital photo, transform it with Photoshop, and then transfer the altered image onto a photopolymer plate. The subject might be tire treads, cracks in the pavement, shadows on a wall; when theyâ&#x20AC;&#x2122;re transformed - in fact, when theyâ&#x20AC;&#x2122;re even noticed - they take on aspects that are other worldly, even religious. Now I want to say something about drawing, because drawing is such a natural human impulse.* There is something spontaneous in the touch of pencil to paper; a drawing can take the fleeting blush of inspiration and nail it to the picture plane. The challenge lies in knowing what to put in, what to leave out -and when to stop. The result is an economy of expression, i.e., to say a great deal with little. If an oil painting is a concerto, then a drawing is improvised jazz - and it happens to be an improvisational form that flows into my printmaking practice. The figurative, quasi-portraiture you see in some of my prints started as drawings; like my photos, they were translated to this medium I find so plastic, challenging, forgiving.
*There is more to say on this subject, but this essay is about my work and I must stick to the topic and keep it brief. Shadow Palm
14.5 x 10.5