On the Edge - Clay Monoprints & Pots by Mitch Lyons
Thursday, August 26-Sunday, October 24
Clay and printmaking? Could this be a typo? Not for Mitch Lyons, potter turned printmaker who combines clay and printmaking to create his unique clay monoprints. To understand this unusual technical process it becomes necessary to understand Mitch Lyons’ philosophy and the aesthetics of the work. Lyons began experimenting with clay monoprints in his studio in New London, PA over thirty years ago. He earned a BFA from the University of the Arts in Philadelphia in printmaking and a MFA from Tyler School of Art, Temple University in ceramics. Not a potter that warmed to the use of glazes, Lyons worked with pigment-permeated clay. From 1971-1976 he was a full-time potter producing handbuilt pots from pigmented clay. After an unexpected experiment involving rolling pigmented clay out onto newsprint, the possibility of printing with clay was discovered.

Since 1975, he has been exploring the medium and in 1980 he built a 6’ x 6’ table for his clay slab which has become his work bench for every print executed. Color and details of previous monoprints at times become compositional elements of subsequent works. He literally builds upon every print he has ever made. His process begins with a slab of stoneware clay is rolled out about 1/4" thick. After allowing the slab to dry to a "leather hard" consistency, colored slips are made using China clay and permanent pigments. These colored slips are brushed on, dried and rolled into the clay slab, one color over another, building the design with images, colors and textures on the “matrix.” A moistened piece of paper/canvas is then placed over the design and vigorously rubbed, transferring the print from the slab to the two-dimensional material. Because China clay is inert and the pigments used are permanent and stable, the clays remain intact.

These monoprints are a saturation of color that includes a variety of markings, allowing the prints a free and kinetic feel. Many of the elements move effortlessly through the prints between the layers of color. Most of the prints are abstract although realistic elements can at times be seen. His inherent quality of asymmetric balance along with the element of chance, play an important role in the creation of his work. Viewing his prints can be compared to viewing the interior walls of an old house being demolished, where layers of paint and wallpaper reveal a stratum of lives lived, lives changes and the elements of time and history.

Not to be overshadowed, Lyons’ handbuilt pots are as unique as his monoprints. For anyone who thinks working on the wheel is essential in pottery making, Lyons proves otherwise. Lyons makes seamless handbuilt pots using a “broomstick” method that utilizes a series of dowels and tubes (up to several inches in diameter) inserted onto a cylinder of clay. The results are cylinders/pots of just about any length and any diameter, all evenly constructed. Once the desired size is achieved, his embellishments are endless.

Clayprinting Workshop
In addition to the exhibition, Lyons will teach a Clayprinting Workshop on Saturday, September 25 from 10am-4pm and Sunday, September 26 from 12pm-4pm. Students will learn to make monoprints using a slab of clay as the matrix in this two-day workshop. After rolling out a ¼” slab of stoneware clay, students will apply colored clay slips, add texture, roll flat, and prepare to pull a print. A moistened piece of paper/canvas is then placed over the slab and rolled with a wooden rolling pin. The paper/canvas is lifted pulling a thin layer of colored clay from the matrix. The cost for this workshop is $170 with most materials supplied by instructor. To register for the workshop, call 804-261-2787 Monday through Friday from 9am to 5pm or registration online - Clayprint Workshop.