DIANA STETSON

My work has always involved juxtaposition of text with image.  I studied classical European and Asian lettering seriously for many years before I began working as a printmaker in 1990.  Initially, poetry inspired my images, and lately I have found that I work in the opposite direction – I start with an image that interests me and then sometimes find or write a text to relate to it – often simply a question or a haiku poem.  Incorporating text into visual images can give a second dimension to the experience of the artwork, because of the content as well as the visual power of written forms themselves.  My studies and travels in Asia, Mexico, Greece and Europe, and my marriage to a Buddhist priest, have helped nurture a contemplative and cross-cultural aesthetic in my work.  I’m honored to sign all of my work with the “chop” or signature seal that was designed and carved

 by my Chinese teacher in 1980 when he gave me my artist name,

which translates from Chinese into English as Red Elegance.

ABOUT THE WORK

These are all original works of art.  They are made one by one on a press, shown below, using a variety of techniques.  I use Master Printers for technical assistance when working on the press, and to assist with processing the etching and collograph plates. 

The four kinds of prints that I create are:

MONOTYPES:  (numbered 1/1) one of a kind prints created by transferring a painting on Plexiglas to paper in the press.  I usually create “suites” of monotypes, working with the same image more than once, so that there are often several similar monotypes.

COLLOGRAPHS:  limited edition prints, using textured plates created

by the artist to print from – typically three sets of plates; one for base

color, one for textured color, and one for line.

LINOCUTS:  limited edition prints, using a piece of linoleum

 carved by the artist to print from.

ETCHINGS:  limited edition prints, using an etched copper plate designed and/or drawn on by the artist, to print from.

Materials used are oil-based inks, fine French print papers, fine Japanese papers,

 and antique papers.  I often add color by way of a monotype

or collage underneath the linocuts and etchings.

All work is lightfast, acid free, and framed with museum quality.