How did you make this?
I begin with a medium weight sheet of printmaking paper that is fibrous enough to soak up the greasy soy based ink I use because of its ability to stay tacky until applied to paper. Out of the sheet I cut round shapes independently of each other. I try to make each shape vary from the last but each loosely resemble the others. I decided to print on circular paper because I view memory almost as though I am looking at it through a hole in the wall. I cannot see the entire room but with the limited information I can assume what it might look like.
I then roll a thin layer of ink on my glass plate, press the paper into the ink and begin drawing from memory on the back of the paper with the handle of a paint brush. The drawings are mostly static, inanimate objects that come from the homes of my childhood and early adulthood. When I do not know how to draw an object I do not look for a reference but leave details blank or draw them inaccurately. As I draw, the ink often soaks into the paper unevenly, partly obscuring the drawing.
When the disc prints are dry I lay them out on wax paper while I carefully melt down candle wax, some from used candles that still hold burned out matches and wicks within them. When the wax becomes liquid I pour it over the drawings. As the wax firms, I lift the drawings out and place them on a clean wax paper surface so that they form independent pieces. I choose to pour the wax because the process is inconsistent and the thickness and evenness of each piece varies.
What came right before it?
I was working in more recognizable iconography such as stripping down the images of ads using monoprint techniques in order to discuss family and specifically the mother daughter relationship. I was simultaneously using sculpture and fiber works to talk about familial relationships and status.
I am working new works that discuss the status of feminine knowledge using the weaving of materials deemed feminine into objects that traditionally have represented a high status knowledge.
Summer Stapleton is an American artist born in 1988 working out of Colorado Springs, Colorado where she lives with her partner and their son. She will be receiving her Bachelor’s degree in Art with a Minor in Anthropology.
Summer Stapleton is an artist whose works are showcased in GOCA 1420’s Senior Visual Art Exhibition, Ways of Seeing. This is the eleventh annual Senior VAPA Majors art exhibition and runs from 21 April through 13 May 2017. Gallery hours are noon to 5 p.m. Wednesday through Saturday, or by appointment. GOCA1420 is located at UCCS Centennial Hall at 1420 Austin Bluffs Parkway, Colorado Springs, 80918.