DRAWINGS & PAINTINGS
DRAWINGS,
MONOTYPES & CHARCOALS...
1970's
Gypsy, Portrait of Harry, Fall Corn, Rooster AND 2 Hens,
Plant Still Life, American Sahara, It's a Yoke
1980's
The River Split
ABOUT MONOTYPES
Monotypes offer a wide range of spontaneous possibilities without the use of a printing press. Monotypes can be made by the same process as monoprints but can be pressed.by hand, a roller or some other pressure rather than having to be run through a printing press. Wyrick often used glass as a plate to draw or paint on and would press on the paper by hand to transfer the image.
In her series of River Dancers, she used the same basic printers’ ink image, but discovered many ways to alter the original plate and was able to make a series, utilizing the “shadows” left on the plate, adding further drawing and more medium for each print when necessary. The River Path series evolved from using her fingerprints to “draw” on the plate.
River Dance Series Monotypes
River Paths Series Monotypes
ABOUT DRAWING “AEROBICS”
In the early 1990’s I decided that I should try to “loosen up” my drawings and I set the goal of doing a large charcoal drawing every day, with no preconceived plan or intention. I also started each day standing in front of my paper taped to an upright drawing board and I used large arm movements before each drawing
started to take shape. It was an enjoyable and freeing experience and I named it Drawing Aerobics.
I had a good stock of BFK Rives paper and the blackest charcoal and there was nothing holding me back. It was an incredibly productive time. The only drawback was that framing some of my prolific production proved to be time-consuming and costly. Yet I highly recommend “Drawing Aerobics” to others.
1990's
Drawing "Aerobics"
Charcoals
Thinking about Chance, Ladders Reaching and Search (diptych)
2000's
Ink Drawings
Let's Start from the very beginning, Growing Past Boundaries, Untitled
Charcoals
Hosta #1, Hosta #2, Enmeshed
NOVEMBER 1, 1991 IOWA CITY
The University of Iowa was devastated by a mass shooting on campus, at a time before mass killings became more common around the United States. Darrell and I were on a UI Foundation trip with the President of the University, Hunter Rawlings, his wife Elizabeth, and some other Foundation staff members holding events with Iowa alumni when the stunning news of the shooting came to us.
Hunter and Elizabeth flew back to Iowa City immediately, and those of us still there flew back the next day. In returning to my studio and grieving, my immediate response was to do the drawing that was later featured on the Memorial Recital booklet cover a year later. The event impacted all of us in our community and even more widely. My charcoal drawing of the five boats Set Drift, followed soon after.
November 1 (charcoal drawing, drawn on November 6, 1992 drawn after the Memorial)
Set Adrift
