For a long time I thought Gelli Plate printing was about the print. One layer, one result, done.
Then I started experimenting differently. Instead of building layers on paper, I began layering directly on the plate – adding color, moving it, adding more, letting it mix and shift before the paper even touches the surface. The result is something I couldn’t have planned.
This method grew out of my Rothko experiments earlier in my 100-day project. Rothko worked in veils of color, one over another, until something quiet and alive emerged. I started asking: what happens if I do the same thing – but on the plate?
The prints you see here are the answer. A muted palette of blue, orange, gold and grey. Marks that come from the roller, from my hands, from what was left on the plate before. Nothing is fully controlled. That’s the point.
I’m currently on Day 74 of my 100-day Gelli Plate project. Watch the short process video below to see this layering method in action.