Q: When did you first realize that you were an artist?

A: I actually never accepted the title "artist" until I had to write something down as an occupation. I always considered myself the "student of art." As to when the light of being interested in art came about, that was at the age of ten, when my teacher supported my talent by encouraging me to draw.

Q: What was your artistic formation like? How does it compare to the art education we see around us today?

A: Since this encouragement was well planted, it formed the basis for a strong desire to continue studying art. But I got there by an indirect route. First I started studying education, which I found boring. It was not until I'd been teaching for several years that I took the decision to go back to art school in Munich. That was truly the greatest art education that I ever had, due to my mentor, Kurt Lohwasser.

Q: How did you end up in Sag Harbor? Is it as delightful as it looks? How can it be so bucolic, yet so close to New York City?

A: Sag Harbor is bucolic indeed. The "Hamptons" have always been considered the New York playground. The delightful part to me is being away from the scene and become secluded in the wooded hills. Although I had lived in that "other part" of Long Island, I was working and collaborating with some very well known artists, including the de Koonings, Flavin, and many others, that lived on the 'east end.' I rented a studio space and set up my stone lithographic presses. It proved to be a great move. At the same time, my own imagery started taking hold.

Q: What were the inspirations for that wonderful house and studio of yours?How long did it take you to do it? Any advice for aspiring house-and-studio builders?

A: My architectural interest, never left. I was inspired by a house silhouette of a beautiful shape in a Winslow Homer painting. I designed my home around that structure, later finding out that it was his own studio. It took about six years to get it together since I did a majority of work on it myself and my funds were limited. If an aspiring builder wanted to tackle something like my adventure, I could write a book on the joys of creating a space. It was a totally rewarding experience with lots of help from friends and also business people. They helped make my dream into a magical vision.

Q: Most of World Printmakers' readers are artists at various stages in theircareers. If you could offer them one single piece of advice, what would it be?

A: Consider the 'positive pathway' approach and realize that the artist is a creator who, with the help of the right tools, brings his/her inspiration into focus. Once that avenue is chosen, it is important that this identity is maintained until it is exhausted. If it parallels the passions of love, it will never leave.

Midnight Whistle

Q: We'd be fascinated to know when and how and in what context the Solarplate idea occurred to you?

A: Kurt Lohwasser showed me a polymer plate and explained its use in industry. I took it and 'changed' its use from the relief principal to the intaglio technique. It was no great stroke of genius to try something new with a material, it was, however fortunate timing. People were beginning to become more aware of health and safety issues revolving around traditional printmaking techniques.

Q: What do you see as the principal advantages of Solarplate techniques?

A: Instead of using acids, solvents and grounds for etching, Solarplates use sunlight and water. The same results and more, are obtained. In addition, the plates are more spontaneous, direct and quicker than traditional techniques. Printmakers also approach the technique more with a lithographer's directness than the etchers multi state method. The artist can also create with the positive image in mind, not the reverse, or negative sense of the intaglio plate. The speed at which the printmaker can pull impressions is also a great attribute. Since the backing of the Solarplate is steel, it can be inked on a magnetic table creating a solid, stationary surface for quick, simple wiping.

Q: After seeing your Solarplate DVD presentation, the process reminds me a bit of photographic darkroom work. Is that a fair comparison?

A: In a way, yes, although the plates are not worked in a darkroom. They can be exposed in normal incandescent lighting. Development of photographs is exciting watching the image appear, while development of the Solarplate is part of the process. The excitement of Solarplate is just like any etching being unveiled coming through the press.

Q: Are Solarplate techniques capable of completely supplanting acid etching or other etching techniques in terms of image quality, nuances, creative possibilities, etc?

A: I would hate to see traditional intaglio work go by the wayside as much as seeing darkroom development disappear. The love of process as well as certain nuances will always remain in the hearts of printmakers and photographers. Although the digital movement has made a huge impact, and Solarplate printmaking is in its infancy, artists are gravitating to both techniques, due to the qualities one can achieve. When it comes to quality of photographic work with Solarplates, it has reached the level of photogravure.

Q: What about editions. Since the plates are steel, presumably they standup well to large editions. Or not?

A: I have witnessed over 100 impressions being pulled from the Solarplates but I have also seen the images deteriorate after 50. It depends on the printer. The plates are actually made of Polymer and backed with steel.

Q: In your long experience what has surprised you about the things peoplehave done with Solarplate techniques?

A: There is very little that people have come up with as of late that is surprising, however when I conduct workshops, I love the surprise that experienced printmakers have whenthey discover how "easy" and rewarding the process is.

Q: Do you find that etchers tend to adopt Solarplate techniques "instead of"or "in addition to" acid etching or other techniques?

A: A bit of both, actually. It is primarily concerns regarding health and safety which induces people to adopt Solarplate. Old etchers, especially males, tend to stay with what they know and are successful with.

Q: What about exhibiting and selling Solarplate prints? Are they well accepted by clients? Do they require a lot of explanation? Should they be delivered along with a manual?

A: I personally do not make a big issue over these issues. Educated people know, by the plate mark, that it is an etching or a hand pulled print. I always disclose the information and the term Solarplate etching has become pretty generic. If people want to know, I tell them but its more important that they see image and not technique. When the public wants to know the answer of the stupid question "how long did that take you," you know they are really not paying attention to image.

Q: Having worked in both places, how do you see the differences between the profession of printmaking in Europe and in the USA?

A: I have actually worked on all continents and what is really wonderful is that printmakers have many more similarities than differences with their approaches to their art. I find the profession is more influenced by the people and their personalities. If one were to stereotype, the Aboriginal printmaker approaches things differently from the Peruvian or the Japanese printmaker. Different lands make teaching and collaborating very exciting; I would be burned out if all printmakers were from New York!

Q: As a singularly innovative artist yourself, what's your view of today's innovative printmaking, which uses computers?

A: I believe the computer has its place and function, it is here to stay. I believe the computer print alone is something that should always be identified as a digital image. Digital imagery is similar to traditional prints up to a point. However it would be better if all prints, both those which are hand pulled, and those which come out of ink-jet printers were clearly labeled with full disclosure of their techniques. The problem I have is when digital prints are labeled with fancy names that are no more than a a cheap, mystifying marketing tool.

The Solarplate technique, I might add, represents a wonderful link between the computer and the hand-inked, hand-pulled print therefore putting the DNA back into the art.

Carolina Furrow

Q: Looking at the 2005 course schedule on your website (www.solarplate.com),we see that you dedicate a significant part of your time to educating people in Solarplate techniques. The schedule looks fascinating, with courses in interesting places on both sides of the Atlantic and further afield. How do you feel about teaching and traveling?

A: Its never tiring to be in different lands and always interesting. My only problem is that I also love my home and miss it. I have traveled extensively over the years and hope to continue, but time will take its toll. I have established an international research and educational center called Printaganza, Ltd. This will provide me with the opportunity to continue as long as I am capable here at my home base.

Q: Could you tell us a bit more about Printaganza, Ltd.?

A: Printaganza is my "old age" plan. It will be a building dedicated to printmaking and a project to keep me at home. Its a not for profit institute for the purpose of invited artists to work on specific projects as well as an educational center. Printaganza is in its infancy and I'm not quite sure how it will be financially supported and how I can get the right help, but I hope to have a board that will have the solutions to its longevity. It will also have lots of presses and a gallery space. I hope to break ground within the next two years. I'll be able to walk to work!

Q: Here at World Printmakers we loved your "Printmaking in the Sun" DVD. Can you tell us how that happened? We want to know all about it. What prompted you to do it? Was it a lot of work? Was it fun? Would you like to make any recommendations for other artists who might like to try something similar? And last but not least, where can people order it?

A: Although I have made numerous appearances in videos and TV programs, the making of a video about my own approach to printmaking was a big gamble. I feel good that it was done, however it was a serious investment in time and money. The two year project was initiated by a grant from the Vogelstein Foundation in New York and supplemented by my own savings. It was filmed by an award winning cinematographer, Karola Ritter as her last project in Sag Harbor before returning to Europe. It was an expensive production, and I would not have been able to do it without the support of the grant.

The filming was fun, especially with Karola. The editing was a nightmare; I had a difficult time watching and listening to myself. I am happy with the results, however, and very pleased to hear that people learn something each time they watch it. As to advising other artists to create their own film, why not. It's an adventure but not something to make money with. The Printing in the Sun DVD can be ordered from my website, along with a book by the same name, co-authored by Pauline Muir and me, and a range of Solarplate printmaking materials: www.solarplate.com.

Q: What do you forsee for Solarplate printmaking in the future?

A: I don't have any expectations. I would hope,however, that printmaking in general would make progress in the future. I would love to see more and more-active presses in schools and communities and younger people getting their hands into ink. If Solarplate can help stimulate the activity, that would be great!