B A R B A R A   B O U M A N  J A Y

Fractured Memory 2011 2 0 1 1. printmaking statement   I create non-representational monotypes and monoprints; an intriguing hybrid of techniques that combines printmaking and painting. My focus is on combinations of subtle layered, textured surfaces, using soft geometric shapes and abstract marks with emphasis on limited color relationships and composition. My work addresses proportion and balance with repeated gestures or chine colle' elements that punctuate the main compositional elements Each monotype is created on my Takach etching press with a 40"x72"press bed. My basic approach is intuitive, beginning with a partially developed idea of direction by drawing, painting and rolling up oil-based etching ink onto a non-porous acrylic plate. The inked plate is brought to the press bed and printmaking paper is laid on top of the ink. Pressure is applied from the press drum roller as the plate bed moves under the roller, resulting in the transfer of ink onto the paper. After removing the paper from the plate, the plate is reworked to build up additional density and textural qualities and the same piece of paper is laid over the plate, referred to as multiple drop printing. After a basic feel of the piece presents itself, I approach it in more analytical terms to pull the piece together, using my repertoire of shapes and colors that continuously evolve from my personal experiences and environment.   The monotype process appeals to me since unpredictable printmaking events occur that offset the control of my hand. My preoccupation is in the process of creating the work and through this working process, the journey of rediscovery and re-evaluation of ideas occurs. This results in painterly textures and surface effects that are unique to this printmaking process and cannot be obtained by working directly on paper, further supporting spontaneous creative expression. All pieces are unique, one of a kind, numbered 1/1.

Window of Time Series 2 0 1 1. encaustic statement   Encaustic is a painting process that uses pigmented beeswax and damar resin in a hot wax mixture that is painted onto a rigid support. Heat is required to manipulate the wax medium on the support and to fuse together the painted wax layers. The pieces begin by painting a layer of molten beeswax to grounds of wood panels or paper and then fused with a torch. An assortment of brushes and knives is used to apply the pigmented wax. Sections of paper scraps or textured materials may be added in the building up of surfaces. With every layer, more beeswax emulsion is added and heat fused to the previous layers in the exploration of personal marks, forms and surface qualities. Throughout the process the work is always changing with both additive and subtractive techniques to cover up or expose previous layers of actions and marks. The encaustics I create are non-representational abstract works that combine organization and abstract mark making while building up color, texture, and form. The compositions are brought about by an intuitive process and occasional random acts that arise out of my process to give structure and meaning to color, non-representational shapes and personal environment. This process results in works of luscious surfaces and aesthetic arrangement. All pieces are unique and one of a kind.         Barbara Bouman Jay's work is exhibited and collected nationwide.   All content © 2011 Barbara Bouman Jay