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Notebook: Print - Etching

One Hundred Years of Solitude

Subjective Memory

Hair - Symbol. Selected issues.

"Mary Magdalene's flowing hair veils chaste body of the penitent sinner, and at the same time covers the faded heat of the former prostitute. Hair, potent, lie invisibly under the skin, associating hair with interior, involuntary fantasies, thoughts and longings. Hair tells us something about the state one's "head" is in."
'The Book Of Symbols: Reflections On Archetypal Images' Tachen 2010

Hair carries DNA and codes race, ethicity and gender. Cut or characteristic of a head of hair can also reveal individuality or conformity, freedom or inhibition, even religion, proffesion, political persuation and the idols or trendsetters with whom person identifies. Hair reflects on vitality. Once the hair surfaces the cells in each strand are no longer alive.

Cutting hair doesn't hurt and strands that eventually fall out are constantly replaced by others, giving us an average about 100, 000 at all. Hair along with finger nails continues to grow after death. An ancient, fossilized human bodies with heads of hair have a spoky alivness.

One of the first ways we register our transformation is when we do something to our hair. Hair plays part in initiatory process (as Jews or Orthodox weddings). Hair are flowing as we are aging or seasons change. Gray hair evoke, variously, maturity, authority or wisdom.

"Bob" inventent in XIX century, coincided with radical feminist movements, the invention of the bicycle and sacrifice of the corset expressed greater freedom and determination.

Hair that once covering our animal selfes is a sensual and magnetic.
- stroking hair
- felling its weight and texture
- combing it
- massaging
- decorating it
It all gives people pleasure or brings it to our minds.

"In many humans, head hair can grow to a much greater length than hair elsewhere on the body. This is a “derived” form that evolved outside Africa and probably in northern Eurasia. The ancestral form, which is frizzier and much shorter, survives in sub-Saharan Africans and in other groups whose ancestors never left the tropics. This original hair form is nonetheless relatively straight and silky during infancy. Head hair thus seems to have lengthened in two stages: 1) retention of the infant hair form at older ages; and 2) further lengthening to mid-back and even waist length. These changes seem to have gone farther in women, whose head hair is thicker and somewhat longer. The most popular evolutionary explanations are: 1) relaxation of selection for short hair; and 2) sexual selection for women with long hair. Neither hypothesis is satisfactory. The first one cannot explain why head hair lengthened so dramatically over so little time. The second hypothesis suffers from the assumption that some populations have remained naturally short-haired because they consider long-haired women undesirable. Almost the opposite is true in traditional African cultures, which have a long history of lengthening and straightening women’s hair. It is argued here that sexual selection produced different outcomes in different populations not because standards of beauty differed but because the intensity of sexual selection differed. In the tropical zone, sexual selection acted more on men than on women and was thus too weak to enhance desirable female characteristics. This situation reversed as ancestral humans spread northward into environments that tended to limit polygyny while increasing male mortality. Because fewer men were available for mating, women faced a more competitive mate market and were selected more severely." "Shame and Glory: A Sociology of Hair", Anthony Synnott, The British Journal of Sociology, Vol. 38, No. 3 (Sep., 1987), pp. 381-413

Artists - Libraries

1. Christopher Hitchens ('God is not Great' 2007, 'Mortality' 2012)
2. 'Faithfull' by Marianne Faithfull, David Dalton, 1995
3. Richard Dawkins 'The God Delusion' 2006
4. Emmanuel Carrère 'The Kingdom'
5. Ludwik Stomma 'Or maybe it was different? Anthropology of the History'
6. 'The Book Of Symbols: Reflections On Archetypal Images' Tachen 2010

1. Big Think 'A growing number of scholars are questioning the existence of Jesus'
2. "Interview with Virginie Despentes, French writer"
3. "Easton's Bible Dictionary - Hair"
4. "Hair - Symbol"
5. "5 Billion More: Population Growth During Laurie Anderson’s Lifetime"
Sound & Video

1. Grimes "Oblivion", live performances
2. PJ Harvey "Is This Desire?", album 1998 | "Stories from the City, Stories from the Sea", album 2000
3. Noir Désir - Le Vent Nous Portera
4. Brian Jonestown Massacre "Detka", song
5. Marillion "Misplaced Childhood", album


1. "National Geographic Witchcraft Myths and Legends"
2. "Secret Files of the Inquisition"

Screen Print



Hair Gallery - Research & Inspirations

Nazi collaborators women shaved head

The Printed Image in the West: Aquatint

"A means of etching tonal values, aquatint was named for the effects it creates, which look rather like ink or watercolor washes. The technique can be used to produce shaded areas in a printed etching that range from light to dark, and is useful in figure studies, portraits, or landscapes where modeling or atmospheric tones may impart realism and/or drama. The process involves biting with acid a fine network of lines around grains of resin; the tiny etched channels hold ink that prints as a veil of tone.
Invention and Earliest Uses
Aquatint was invented by the printmaker Jan van de Velde around 1650 in Amsterdam, where mezzotint, another tonal printing process, was also being developed. But unlike mezzotint, which found immediate use, the technique of aquatint seems to have been forgotten until the eighteenth century, when recipes for its use were published in Stapart’s Art de graver au pinceau (1773) and Jean-Baptiste Le Prince’s more popular Découverte du procédé de graver au lavis (1780). Le Prince and Jean Claude Richard de Saint-Non were the earliest practitioners in France. In England, Paul Sandby refined Le Prince’s dry powder technique (dusting the etching plate with resin powder) by suspending the resin grains in “spirits of wine” which could be brushed on to the printing plate. Sandby coined the term aquatint to recognize the medium’s capacity to create the effects of ink and color washes. He and other British artists used aquatint to recreate the tonal complexities of watercolor and painting, particularly where contrasts of dark and light were dramatic elements. The medium’s lively pictorial effects suited it perfectly to the growing market for popular prints such as caricatures and fashion plates.
Description of the Technique
Aquatint may be used to create tones of differing gradations through the process of etching. Such tonal gradations may be added to a printing plate that has already been worked with engraved, etched, or drypoint lines. The plate is dusted with finely powdered resin and then heated until the resin melts in tiny mounds that harden as they cool. Acid (aqua fortis) is applied to the metal plate and bites channels around the resin droplets. The resulting microscopic reticulation will hold more or less ink, depending upon how long or how deeply the acid is allowed to penetrate the plate (see a detail). Tones ranging from light gray to velvety black can thus be printed.
Goya’s Aquatints
Although aquatint was employed most elaborately by English etchers, it became the medium of masterpieces in the hands of the great Spanish painter Francisco Goya. After starting his etchings with brittle but assertive lines, Goya proceeded to cloak them in haunting aquatint shadows. A graphic artist of astounding ingenuity and sensitivity, Goya created four great cycles of etchings to which aquatint contributed emotional depth: Los Caprichos (1799) ; Los Desastres de la Guerra (1810–19); La Tauromaquia (1816); and Disparates (ca. 1816–23)."
Colta Ives Department of Drawings and Prints, The Metropolitan Museum of Art October 2003"
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