Discovering the Gelatin Monoprint
The gelatin monoprint process is very spontaneous and direct with immediate results. I am thrilled to find that I can work for hours unhindered with freedom and clarity. There is no need for a press so, unlike tradition printmaking techniques, this method can be done anywhere. My monoprints are all made using warer-based media on a specially formulated cotton linter paper.
I began creating gelatin monoprints in September of 2010 after a long period of mourning and subsequent stasis in my art making. When I opened my mind to this technique, I found that once I started I could not stop and have been steadily building a body of work since.
I have been making art for as long as I can remember. My mode is ever changing and I allow these natural transitions to happen as they will. I have a deep curiosity about materials and the world around me, and when confronted with something new must get to know it intimately; turn it in my hands, or stack it up in my mind along with the rest of my virtual archive.
I turn it over in my mind, and literally in my hands; push, roll, twist and pull until something about its inherent quality is revealed, or until some new form emerges. I allow my limitations to inform my work. I combine what I know with this newness I have encountered to bring about something as yet unknown.
The same goes for new art mediums. In the world of Gelatin Monoprinting I find that I have gone into another domain so captivating I do not want to return. I am happily ensconced in a realm that is at once liberating, pleasing to the eye, and seductive to the senses. And I want to share some of that magic.
Please have fun looking at my monoprints. There is a lot to take in! Probably more than you bargained for, ha ha!
If you have any questions about a specific work, please go to the contact page and send me an email. I am more than happy to answer any and all questions.
I began creating gelatin monoprints in September of 2010 after a long period of mourning and subsequent stasis in my art making. When I opened my mind to this technique, I found that once I started I could not stop and have been steadily building a body of work since.
I have been making art for as long as I can remember. My mode is ever changing and I allow these natural transitions to happen as they will. I have a deep curiosity about materials and the world around me, and when confronted with something new must get to know it intimately; turn it in my hands, or stack it up in my mind along with the rest of my virtual archive.
I turn it over in my mind, and literally in my hands; push, roll, twist and pull until something about its inherent quality is revealed, or until some new form emerges. I allow my limitations to inform my work. I combine what I know with this newness I have encountered to bring about something as yet unknown.
The same goes for new art mediums. In the world of Gelatin Monoprinting I find that I have gone into another domain so captivating I do not want to return. I am happily ensconced in a realm that is at once liberating, pleasing to the eye, and seductive to the senses. And I want to share some of that magic.
Please have fun looking at my monoprints. There is a lot to take in! Probably more than you bargained for, ha ha!
If you have any questions about a specific work, please go to the contact page and send me an email. I am more than happy to answer any and all questions.
This site is dedicated to the memory of my brother Carl
 Carl E Dunn
Kippy, you are one of a kind.
ALWAYS kind and very cool I miss you much I think of you often Memories of you help and dreams too I know you are at peace and that is something I Love you Carl. |
In the Studio
clean now from a whirlwind of sorting- the tables bare with white paper cloth - like a blank canvas awaiting splash of color, slip of brush
The gelatin and paint, brayers and some water, sheets of stark white paper wait patiently nearby. It starts with a single color spread thin and spread even now forms cut last night placed gently there - paper carefully layed and pressure gently applied - a peek then a lift and I'm off on a ride. more color more forms more paper more time - always lifted to find a surprise - this delights me no end as the table top fills and the variations seem endless - this is better than pills I could spend hours, and I do - playing with color composition and form and happy accidents too- there is a confidence here brought on by a tragedy... life is too short as they say and my brother would be proud of me. |
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 Biddeford Downtown Art Fair 2010 |
demonstration for the Saco Bay Artists Association...
Paper Passion Play
Many people ask about the paper I used to create my monoprints. It is beautiful, sparkling white and archival and it's called 470 paper. Widely used in the bio-pharmaceutical industry in clinical labs as an absorbent pad for culture media or as blotting and wicking paper. It is a thick, absorbent, smooth-surfaced cotton linter paper used for filtration.
It has no binder, so is very susceptible to water. Typically the end rolls of this paper would be tossed into the dumpster. Thanks to my husband, Peter, who rescued many from that awful fate, supplying me with enough paper for half a lifetime!
Please frame your print under glass to protect it from dust and moisture. ENJOY!
It has no binder, so is very susceptible to water. Typically the end rolls of this paper would be tossed into the dumpster. Thanks to my husband, Peter, who rescued many from that awful fate, supplying me with enough paper for half a lifetime!
Please frame your print under glass to protect it from dust and moisture. ENJOY!
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