Melanie Wade Leslie
Fine Artist * Printmaker

 

Style and Process

 

Believing that experimentation stimulates and directs her sense of creativity, Melanie Leslie frequently brings her subjects to life by exploring and combining painting and drawing methodology with printmaking and collage processes.
In her mind, color and texture become the dominant elements
of inspiration that drive her techniques. 
hassan-sun.jpg (24721 bytes) hassan-moon.jpg (26797 bytes)
Hassan Sun                                Hassan Moon

 
Regarding her mixed media collage process, she explains:  

 

It really is a “fiber thing” with me. I work out my ideas in traditional means like watercolor for example and then develop and evolve the final imagery through collage and / or collagraphic methods.  It is the piecing together of interesting textures, shapes and color that fascinates me. I consider my application of collage a technique more similar to the fiber arts than to painting in the traditional sense.

 

I have always been attracted to fibers, textiles and the textures of papers, particularly those of handmade and often translucent Oriental varieties. Combining these in my work often brings to mind the fine textile design, “fabriquer de la couture”. 

 

In the studio, a collage in process:

Melanie Wade Leslie, artist
Laying out design elements
Melanie Wade Leslie, artist
Working on canvas
Melanie Wade Leslie, artist
Adding layers

 

Regarding her printmaking processes:

 

In printmaking, my processes, ranging from traditional to experimental, gravitate toward collagraphic techniques because of the rich textural and fibrous qualities that can be achieved through transferring the imagery of found objects. The energy that comes from seeing these objects in a new and different context is like breaking through a language barrier or gaining insight into something previously incomprehensible.

 

Exploring new methods is an important driver in my creative nature and in my teaching field. I love the process because it is truly out there on the cusp; there are thinkers and inventors who are constantly claiming new technologies in terms of fine art printmaking.  I am challenged to learn new techniques and bring them into my own printmaking classes at the university for my students to explore with me, and many of these (techniques) find their own place in my work.

 

 In spite of the fact that I use handmade printing plates to create my images, most of my printmaking works, with few exceptions, are done as one-of-a-kind unique pieces, or “monoprints”.  This means that though the image is captured on a plate and can be replicated, each time it is printed, it is done in a unique
way so that no two are exactly alike.  This commitment to creating originals takes me away from the arena of reproduction where mass production of images creates some confusion for the general public. (If I do choose to make an edition, it is usually very small, less than 20 total, because I do not consider myself a production artist.)


Indy - my inspiration!

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basic terminology
and printmaking processes
 

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