16
B+W
›‘All of the photogravures come from
composited digital files. I love the
combination of new digital technologies
combined with traditional, old school,
printmaking techniques. Each digital file is
outputted as a digital positive, which is then
etched on to a polymer plate. The polymer
plate is then inked and wiped by hand and
run through an intaglio press. No two prints
are ever identical. It’s a physical, tactile
process – a labour of love,’ he explains.
‘I love the quality of the handmade
intaglio print – it has a presence that
feels noble in the over-indulgent flood of
mass-produced imagery found either on ascreen or through inkjet prints. From the
embossed edge of the plate on the paper,
to the deep rich blacks only made possible
by the intaglio ink, to the slight organic
imperfections of the wiping, a photogravure
print is a rare object – a precious object.
‘Early on I was inspired by the work
of Shana and Robert ParkeHarrison, so I
absolutely must recognise them whenever
I speak about these images. I make no
apologies, though, that my work is derivative
of their beautiful and inspirational oeuvre.
I think my photogravure images were
inspired by my own sardonic humour, and
that comes from a mix of both seeing life asa glass half empty, and finding it humorous
that at least it’s not completely empty!’To see more of Paul Adams’ work,
including Vanishing Voices, a portfolio of
tintype portraits of the last known speakers
of endangered North American languages,
a joint project in which he collaborates
with former student Jordan Layton,
go to pauladamsphotography.com.
A portrait of Florence, one of the
last native speakers of Alutiiq, will be
on display in the National Portrait Gallery
at the Smithsonian in Washington DC
this autumn.The Sugar Plum Fairy Has No Wings