From granite and feldspar quarts to limestones lithography. An etched dancer on to the stone.  Wherever the crayons mark the stone it becomes grease loving, the rest of the stone is treated so that it becomes water loving. Through the chemical process the fatty-acid particles contained in the drawing are liberated, permitting them to combine with the stone itself, and there is no longer need for the drawing materials that contained it. The drawing is allowed to be free but also controlled and contained. I like this, its similar to wax resistant technique, it’s a good way to uncover textures and patterns and create interesting effects. Like the turpentine touché wash, creating resistance and dappled effect, also exploring with water and ink. One of my stones I prepared became quite dark as I added to much ink. I could then take this away with a gum acid mixture, to make negative space. The strength and formulation of the etch is determined through consideration of the character of both the lithographic drawing and the stone. I like this having control and release through the repel and attraction of water and oil.

These stones I believe to be like the merry maidens, dancers who once danced on the sabbath, turned to stone. Here I reflect what dance can mean to woman, and to put on the red shoes. No sabbath should undermine the passion and dancing in the blood, the addiction to the dance. The red shoes become astatic liberation for woman, in the way that suppression percolates expression. this overwhelming feeling of magical emotions that have no place in the ordered world. That’s why the maidens become witches at night, acceptance and ritual, manifestation of feelings. Percolating festering in our feelings. Is it better to feel and be a pickled pigeon than to have no emotion, to be part stone?