Materials: Oil-based etching ink; "tengujo" Japanese tissue paper made from kozo (mulberry); diluted rice paste; Professionally handmade wood panel
Method: Mezzadri makes monotype prints by hand on translucent washi paper, layering and overlapping the sheets, and laminating them together onto wood panels with paste. Like classic monotype prints, each one is unique.
Care: Avoid moisture; do not use water to clean artwork surface. Instead, lightly dust with a dry cloth or soft, fine brush. If water gets on artwork. press with a dry paper towel to pick up any droplets; don't rub. Then allow to finish air drying. If possible, avoid hanging in direct sunlight; avoid hanging where large fluctuations of humidity occur
The only horizontal piece in this series, the artist uses a cooler ivory toned palette while still making use of the dark angular slashes which ground her pieces. This work in particular seems to almost create a gradient from left to right, evoking an approaching storm cloud on the horizon.
About the Artist
Born in 1987 and based in Buffalo, New York, Krista Mezzadri has worked in a variety of media, with printmaking her focus for the past several years. Krista has previously exhibited work in the UK. Her artworks are held in private collections throughout the UK, USA, and Europe.
Working mainly within a monochromatic palette, Mezzadri encourages imperfect tactility to become a feature of the message of her work. Her monotype prints are made by hand on translucent washi paper, and then layered and overlapped, before being laminated together onto wooden panels with paste. Following this process of layering and collaging onto wooden panels with rice paste, the printed sheets dissolve both together and into the panel underneath. Self-taught, Mezzadri maintains an experimental approach to her artistic practice, which explores the movement of repetition, utilising contrasts of texture and translucency, silhouetted depth and distinct flatness. Engaging with the coexistence of opposites, her work exhibits the fusing of many opposing physical elements together - tissue and wood; light and darkness; geometry and irregularity. Mezzadri is interested in the meeting point of these opposites - their ‘dynamic dependence’.