During 2007 to 2020 I was focusing on origination and digital engraving for banknotes. Now I am back in my studio to continue developing intaglio engravings from an independant artist perspective

 

In the renascence, artists took advantage of new possibilities and lay ground for development of intaglio engraving and intaglio printmaking. The craft and mastership of engravers like Albrecht Dürer still have a great inpact. I learned both steel and copper engraving the classic way, but curiosity and search for new possibilities become important drivers. I wanted to challenge the classic engraving. What really thrilled, is the tactility of engraved lines, the sharpness and richness that can't be replicated by any other media. 

 

In early 2021 I installed my own engraving machine and started to produce machine/hand engravings on plastic for intaglio printmaking. And in Dec. 2022 I expanded with a high tech fiberlaser that now enabels me to develop engravings on smaller metal plates, back again into a more classic approach. 

 

An engraving workshop at the Royal University College of fine arts in Stockholm 1997, rendered extra interest when I introduced a graver steel that I had mounted into a motorised wood carving tool. Engraving in copper was taken to a new level.

One of the master students, Pontus Raud, named the tool "Turbo-burin" and got a grant to explore the possibilities of up scaling line-engraving for large plates. We called these engravings Moto-engravings. This was the starting point for a number of joint projects, workshops and exhibitions between 1998 and 2007. We also incorporated a large cutting plotter with a diamond needle instead of the knife. The free intuitive work of the hand in combination with calculated machine patterns, a strange mix printed with heavy, rich ink.

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