尼克·比森：佩尼亞斯科，NM版畫家

尼克·比森是一個版畫家，既創造單版畫和銅版畫，以及高卓藍美術畫廊佩尼亞斯科，新墨西哥州共同擁有。 Peñasco is several villages up the High Road fromTruchas.佩尼亞斯科是幾個村子了高路從Truchas。 I asked him if he would tell us about his art andprocess.我問他，如果他會告訴我們關於他的藝術和工藝。 This is what he had tosay.這就是他說的話。

由尼克·比森

I wasfirst attracted to printmaking while hanging out at the Zeller 9Gallery on the Fulham Road in London, situated (some would sayfortuitously) opposite The Goat In Bootspub.我是第一次吸引了，而掛在澤勒9畫廊在富勒姆路在倫敦，位於（有些人會說偶然）對面的山羊在靴子酒館版畫。

I firststarted printing in the mid 80s inEngland.我第一次開始打印在80年代中期在英國。 After a set of etching classes at Winchester ArtCollege, I was trulyhooked.一組蝕刻類在溫徹斯特藝術學院後，我真的上癮了。

Fiveyears later, pursuit of an opportunity to live and work in the USAbrought me to the San Francisco Bay Area, and an intersection withthe Pacific Arts League of Palo Alto(PALPA).五年後，追求的機會，生活和工作在美國把我帶到了舊金山灣區，並與帕洛阿爾託的太平洋藝術聯盟（觸診）的交集。It wasthere that I switched allegiance from etching to monotypeprintmaking.在那裏，我切換效忠從蝕刻版畫蒙納。

Thecatalyst was artist Adele Seltzer, who studied and worked with theamazing Nathan Oliveira.該催化劑是藝術家阿黛爾塞爾策，誰研究和驚人的彌敦道奧利維拉工作。 Iprinted under Adele's adroit direction and active encouragementboth at PALPA and her studio in Portola Valley,CA.我在阿黛爾的機敏方向，都在帕爾帕和她的Portola峽谷，加州工作室積極鼓勵印刷。

For methe two major attractions of monotype printmaking are thespontaneity of the medium, and the unique translucency of amonotype that engenders a quality of light so different from otherprint styles or even a painting onpaper.對我來說，蒙納版畫的兩大景點介質的自發性和蒙納，才能產生光的質量，從而區別於其他打印樣式，甚至在紙上繪畫的獨特半透明。Thesecontribute to a surface that is unlike any other art – truly acombination of printmaking, painting, and drawingmedia.這些都有助於表面是不同於任何其他的藝術 - 版畫，繪畫，繪畫媒體的真正的結合。

My moveto northern New Mexico (first Taos, and then Llano de San Juan)came some time after my first, spellbinding visit in1990.我搬到新墨西哥州北部（第一陶斯，然後Llano的聖胡安）來到我的第一個，引人入勝於1990年訪問之後一段時間。

我遇到了邁克爾守夜的陶斯和享有的機會，如此慷慨地給打印在他的工作室（圖文展示），並吸收邁克爾自己的鼓舞人心的藝術和調色板的素質，以及他的父親Veloy，和弟弟丹尼爾。

In 2010I switched back to etching, using copper rather than zinc or steelplates.在2010年我切換回蝕刻，使用銅而非鋅或鋼板。

Mycurrent suite of hard edged prints bear a reflection of thepolitical realities of living in the USA and northern New Mexico,where the sky, landscape, and especially the experiences andperspectives of the small, tough communities present a very strongsource ofinspiration.我現在的硬邊打印套件承擔居住在美國和新墨西哥州北部，那裏的天空，風景，尤其是經驗和小，堅韌社區的角度提出了一個很強烈的靈感源泉的政治現實的反映。Theseworks are in marked contrast to the art I have shown on the WestCoast.這些作品形成鮮明對比的藝術我已經表明在西海岸。

凹版印刷是使用蝕刻或雕刻版的印刷工藝。 The plate is smeared with ink and wiped clean,then the ink left in the recesses makes theprint.該板塗上油墨擦乾淨，然後留在凹槽墨水使打印。 Intaglio techniques include engraving, etching,drypoint, mezzotint, andaquatint.凹版技術包括雕刻，蝕刻，銅版畫，銅版和飛塵。

蝕刻凹版技術; initiated in the early sixteenth century toexploit the discovery that application of acid can incise an imageinto a metal plate.在十六世紀初開始利用這個發現，應用酸可切割圖像插入金屬板。

Etchingmaybe regarded as a linear medium with the design and compositionof the print created as a set oflines.蝕刻可能視爲與創建爲一組行的打印的設計和組合物的線性介質。

Theclassic approach is where a metal plate is covered with a thinlayer of waxy, acid-resistant ground through which the printmakerscratches using a stylus/pointed etching needle, hence exposingareas of bare metal intended to define and delineate thedesign.經典的做法就是一個金屬板覆蓋着一層薄薄的蠟，耐酸地通過使用手寫筆/尖頭蝕刻針，從而露出裸機旨在定義和劃定的區域設計的版畫家劃痕。Theplate is then washed with or dipped in a bath of acid, (mordant oretchant) which “bites” into the exposed metal, echoing the artist'soriginal lines through the ground, but now sunk into the metalplate.然後將板洗滌或浸漬在酸浴中，（媒染劑或蝕刻劑），其中“咬”入暴露的金屬，通過地面呼應藝術家的原線，但現在陷入的金屬板。

Thelonger the exposure of the plate to the acid, the deeper the bite,hence the stronger the line.該板的曝光時間越長的酸，更深的咬合，因而更強的行。Varyingdepths of line can be achieved by repeating the process ofapplication of acid-resistant stop-out to desired areas of theplate and thenre-biting.線的變化的深度，可通過重複應用的耐酸停止出到所述板的所需區域的過程，然後重新咬來實現。

Despitethe seemingly convoluted process, etchings can appear asintuitively and spontaneously derived, however the technique can beused to emulate the rigour and formality ofengraving.儘管看似錯綜複雜的過程，版畫可以表現爲直觀，自然衍生的，但是這個技術可以用來模擬雕刻的嚴謹性和正規性。

Photogravure is the process ofprinting from an intaglio plate, etched according to a photographicimage.照相是印刷的從凹版印板的過程中，根據攝影圖像的蝕刻。

Photo-etching is a technique ofusing light sensitive plates enabling creation of photorealisticetchings.光刻是利用光敏感板使創建照片般逼真的銅版畫的技術。

Here'sthe process I have used at GraphicImpressions:下面是我使用的圖形展示的過程：

Thedesign and composition of the print is created by adhering one ormore black and white negative images derived from photographs to asheet of mylar which is then placed in a light box together with aplate to which has been applied a photo-sensitivelayer.打印件的設計和組合物是由附着來自於照片，以聚酯薄膜的片材然後被放置在光盒連同在已被應用了光敏層的板的一個或多個黑白負像創建。

Light isprojected onto the plate as a negative image to exposeit.光被投射到該板作爲負圖像，以暴露它。 The plate is washed and cleaned, and then placedin an acid bath (ferricchloride).將板清洗乾淨，然後放置在酸浴中（氯化鐵）。 The acid bites where light has passed through thenegative hence hitting the photosensitive layer of theplate.酸咬在光已經通過負，因此撞擊板的感光層。

Once thephoto-etching process is complete, the plate can be worked furtheras a normal intaglio plate – the final result being an intaglioplate which is printed like anyother.一旦光蝕刻工藝完成後，該板可以被進一步加工，作爲一個正常的凹版 -最終的結果是通過印像任何其他的凹版。

Types of metal plates (etchingsubstrates) 金屬板類型（蝕刻基板）

Copperis the traditional and normally preferred metal foretching.銅是傳統的，通常首選金屬蝕刻。 Copper is capable of etching finer details, bitesevenly, holding line and texture well in the acid bath, and doesnot distort the colour of the ink whenwiped.銅是能夠蝕刻更精細的細節的，咬均勻，牽着線條和紋理以及在酸浴中，並擦拭時不變形油墨的顏色。

Zinc ischeaper than copper but does not bite as cleanly and alters somecolours of ink.鋅比銅便宜，但不咬人的乾淨和改變墨水的一些顏色。

Steelhas a natural and rich aquatint and the line quality of steel isnot as fine as that from copper, but is finer thanzinc.鋼具有自然和豐富的飛塵和鋼線質量不細如從銅，但比鋅更細。

A brief list of (among multitudes)favorite and inspiring artists的（在衆人）最喜歡的和鼓舞人心的藝術家一個簡短的清單

FrancisBacon, Willem de Kooning, Franz Kline, Nathan Olivera, Juan Gris,Richard Diebenkorn, Jean Michel Basquiat, Andy Warhol, Mark Rothko,Fritz Scholder, Cy Twombly, Robert Rauschenberg, John Chamberlain,RB Kitaj, Antoni Tapies, Joseph Cornell, Frank Auerbach, LeonKossoff, Manuel Neri, Wayne Thiebeaud, Henry Moore, David Nash,Larry Rivers, Jim Dine, Anthony Caro, Robert Motherwell, PaulPletka, Tetsuya Noda, Masami Teraoka, Ukiyo-e artists – KitagawaUtamaro, Taiso Yoshitoshi and KatsushikaHokusai.弗朗西斯·培根，威廉·德庫寧，弗朗茨·克萊恩，彌敦道奧利維拉，胡安·格里斯，理查德Diebenkorn，讓·米歇爾·巴斯奎特，安迪·沃霍爾，羅斯科，弗裏茨Scholder，賽揚Twombly案，羅伯特·勞申伯格，約翰·張伯倫，RBKitaj，安東尼·塔皮埃斯，約瑟夫·康奈爾，弗蘭克·奧爾巴赫，萊昂KOSSOFF，曼努埃爾·內裏，韋恩Thiebeaud，亨利·摩爾，大衛·納什，拉里·裏弗斯，吉姆佳餚，安東尼·卡羅，羅伯特·馬瑟韋爾，保羅Pletka，野田哲也，寺岡昌美，浮世繪藝術家- 北川Utamaro，Taiso和嘉利葛飾北齋。

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夢想與現實之間的磨合讓我讀懂很多生活的語言，風雖改變了方向，卻沒有改變我的行程-----

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