Karin Daymond’s lithographs focus on the Karoo as their starting point. In these prints, Daymond has shifted conceptually from landscapes with a human presence (depicted in how humans manipulate the environment) to ones where there is a sense of vast openness and space.
Daymond comments “these prints reflect a conceptual rest. I deliberately limited my use of colour and worked without any references. If I did refer to anything it was to charcoal drawings of the Karoo that I had been working on. I placed myself alone in these landscapes with no human interference, being alone in the sense of a meditation. I wanted to depict that sense of aloneness and the vastness of the landscape. Human interference tends to give scale to a landscape, I wanted to move away from this in these prints. It is a comfortable aloneness, both physically and mentally. I wanted to “scrape” away to get to the “bones” or essence of the landscape, to be more in the moment.
The muted colours of these prints suit the bleached nature of Karoo landscapes. Texture becomes important in creating a sense of distance, colour tends to become a subject in itself and I deliberately steered away from it in these images. Ironically when I was in the Karoo it was a during a spectacular mass flowering of plants”.
A monoprint is similar to a monotype but is different in that a monoprint has an element of a printed “matrix” that will be the same as that used in a number of prints. This base can take any printed form and could be letterpress, lino or lithography. The artist will then add to this using monotype and can work on any surface from glass to metal and plastic, as long as it is flat and can go through the press it is suitable to use for this process. Thus a monoprint is not an editioned print but is rather a series of prints that share a common skeleton but which are each unique in the way that they have been completed.