STUDIOSHOT


Selected Monoprints and Monotypes



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Artist Information


David Fox was born in London and has lived in New York most of his adult life.He is a multi-disciplinary artist embracing the visual arts, playwriting, poetry and fiction as well as a songwriter and performer in New York.

He studied Painting in London at St. Martin’s School of Art and at MICA, Baltimore under Grace Hartigan where he won the Graduate Painting Fellowship and has continued to practice his art exhibiting both nationally and internationally.

His literary credits include short plays produced and performed at HVCCA, NY and on Off Off Broadway,  poetry published by Corvinus Presse, Berlin, Germany and a book of poems and songs accompanied by a new CD to be published in 2017 by Moloko Records, Germany.

I have been making monotypes since I began my life as an artist. Always having a great interest in the graphic power of Black and White I was immediately attracted to the medium of monotype. I had already experimented with etching and woodcuts but monotypes provided me with a vehicle to be much freer in the use of line and mark making.

Although I studied painting I am a draughtsman first and foremost.  Drawing informs all that I do visually. Monotypes for me provide the perfect platform for my style of work. In fact I would say my style has really been informed and influenced by monotypes. They are a bridge between painting, drawing and printing.

I use both dark and light field methods and frequently a little of both on the same plate. I work mostly in black and white but have made many color monotypes too.

I return to monotypes again and again mostly as a work of art in their own right. But recently I have used them as supports for painting, working directly on the print in oil or watercolor or gouache.

For a long time dark field monotypes were my preferred method. By beginning with a blackened plate it is like being in a very dark room and having to feel your way around. You bump into something and it lights up. That is an interesting mark or texture! Then you proceed each mark lights up the next. It’s a journey and you have no idea where you are or where you’ll end up.

Light field has its advantages too. One can use line in a more direct and obvious way because you can see where it is going. I like both ways and as stated before I often make some areas dark and wipe out from them alongside light areas which are then treated in different ways.


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