When the editors for Emily's upcoming monograph A Light in Spring asked if there were any photos of Emily and me working together in my print studio, I searched in old binders and folders and realized there was not one. In over 20 years of printmaking together, it never occured to us to take a photo while producing an archive of hundreds of prints. Expanding upon an innovative printmaking technique the artist Joan Miró pioneered in the 1960s, Emily brushes a carborundum grit and glue matrix on clear Plexiglas plates, providing her unparalleled flexibility in her process, the ability to respond to images unfolding before her. Her approach to printmaking marked by continuous and overlapping activity, starting and finishing, images emerging over weeks, months, years.

Our current exhibit Emily Mason: The Intuitive Print is a selection of works from our collaborative printmaking history. To illuminate Emily's unique approach with transparent plates, color, paper and time, I gathered some unused plates she made back in 2010 and a camera, beginning yet again.