Silk Screen


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  1. What would you say influences your work? I can think of a few things off the top of my head. Color - Using every crayon in the box, Patterns and putting things together – Jigsaw puzzles and quilting People – Moving around and watching people and my notebook doodles. Family – My constant in my very mobile childhood 
  2. Why do you think of your work as a Story? Either I have a story in mind as I create the large groupings of people or I want the viewer to find their own.  
  3. I notice that your people do not have faces or hair, do you do that on purpose? I want people to look beyond the normal identifiers such hair and eye color.  I hope that through pose, movement, and pattern they recognize something familiar.  If you give them the obvious they often don’t look beyond that.  I think we are guilty of that. 
  4. How long have you been working with the large groups of people? I think my first big panel was in 2001.
  5. Has there been a favorite? No, each time I make one I see something a little different.  By combining different patterns and different silk-screens, everyone is individual. 
  6. You mentioned silk-screens.  Can you tell me about that? I make silk-screens, similar to the same process as t-shirts.  The main difference is that instead of pushing paint through the silkscreen, I push very fine powdered glass. I do this on top of colored glass and then fire it in the kiln.  It might be a photo of a family member, a drawing, or text.  Once the sheet is fired I cut it up to be used to pattern the figures.  So all the patterns are cut pieces of glass layered on a larger sheet of glass and then finally fired in the kiln.  I think of it like a quilter would use patterned fabrics. 

​Lesley Nolan 

​fired pieces