Market Vermont Artist: Macy Moulton

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macy I studied graphic arts and environmental science in college. They both require observation and attention to detail. After graduating I had a variety of lab jobs, and before moving to Vermont was a freelance scientific illustrator. In 1997 I began sharing studio space with another artist who had an antique proofing press. I’d always been interested in linoleum block prints, and taken one class in college, but now I had a chance to concentrate on this medium. Since then it’s been the major focus of my artwork. I also love to get out of the studio on a nice day and do plein art paintings in watercolor and acrylic.

The bold graphic qualities of linoleum printing are what first attracted me to this medium. Simple linear ideas, can be interesting, as well as much more complicated images requiring hours of carving. Both my landscapes and botanical images show my interest in structure, and form. I am very concerned with the reality of what I see, and how that can be maintained, within the limitations of carving on a 2-dimensional surface.

The larger landscape images are created after hours of onsite sketching. These sketches are then manipulated to find the right composition. Carving doesn’t begin until the overall design is worked out, and the major elements are transferred in reverse to the linoleum. Many of the details and patterns can evolve as the image is carved. Once the plate has been carved, ink is rolled onto the plate, and then the paper is placed on top. I currently use a barren to apply pressure to the paper, and transfer the image onto the paper, which is then pulled off the plate. The plate can then be inked again. Usually, I pull six prints in a session of printing, before the plate begins to gunk up, and details begin to get lost. The prints are hung up to dry for about four days. The plate can be cleaned, and used again.

macy-studio Many of my limited edition prints are reduction prints. This type of multicolored print uses the same block for all the colors. First the plate is carved and the first color is printed. The entire edition must be printed, because the same plate is carved for the second overlapping color. Sometimes the plate is carved again for a third color. The plate is destroyed as you add additional colors, so there is no going back.