The Mixografia® technique is a unique fine art printing process that allows for the production of three-dimensional prints with texture and very fine surface detail. With this process, the artist creates a model or maquette with any solid material or combination of materials on which he or she incises, impresses, carves, collages, or builds-up in relief the image to be reproduced. Copy plates are molded from the maquette, and the edition is printed on handmade paper pulp which can withstand the extreme pressure of a three-dimensional press.
Bourgeois was approached by Mixografia® Workshop with the proposal to make an edition. After seeing examples of the sculptural possibilities of the medium, she agreed to participate. “Crochet I-V” takes inspiration from various drawings of meandering, twisting lines, which Bourgeois felt were particularly well-suited for the medium. With the help of Judith Solodkin of SOLO Impression, New York, Bourgeois used red string as a drawing tool to create a series of linear compositions and a representation of a woman’s braided hair. The maquettes were then cast at the Mixografia® workshop into copper plates, which were hand-inked and pressed with handmade paper.
Mixografia® was developed by the printmaker Luis Remba in the early 1970s at his workshop in Mexico City. Remba devised the technique while working with the painter Rufino Tamayo, who wanted his prints to have more volume and texture. Among the many artists who have collaborated with Remba are Helen Frankenthaler, Kenneth Noland, Larry Rivers, Ed Ruscha, and Tom Wesselmann. The workshop has been in Los Angeles since 1983.
The prints in this series can be shown as a group or individually. There is no required sequence.
According to the artist's assistant, Jerry Gorovoy, Bourgeois was interested in creating new shapes and forms through the act of weaving, twisting, and knotting material. This interest is most evident in the fabric works and is also referenced and represented in various works on paper.
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