The creative process behind each Aurore de la Morinerie print is based on an exceptional technique combining creativity, quality and tradition.
Aurore de La Morinerie has always had a passion for Fine Art printmaking. Starting from her original brush and ink drawings, the artist explores and experiments with the infinite possibilities of this ancient technique, deeply rooted in both Asian and Western cultures.
Depending on the theme she chooses, Aurore de La Morinerie creates a fusion in her personal work, each time renewed by her two traditions. Each print is made entirely by hand in her Parisian studio. From the choice of exceptional papers to their hand-dye and chiné-collé treatment, every step of the creation process holds the same importance for the artist who strives to offer collectors a work that lives up to her personal requirement.
Each print is part of a limited edition, through tiny controlled variations that each tells its own story, that of an object of collection (and delight).
Once a drawing has been made and selected, it is then transferred to a copper plate engraved in intaglio via an ancient technique called rotogravure. Each plate is fragile and unique. Once the number of print wanted by the artist has been run, a plate can no longer be used. It is a limited edition.
In the workshop, the printer begins by inking the plate. The ink, consisting of linseed oil and pigments, is rolled over the entire surface of the plate.
Once it is inked, she uses a muslin cloth, called tarlatan, to gently remove the excess ink. Slowly, one can begin to see the pattern emerging, leaving only the ink in the sizes. Using only the palm of her hand, covered with white of Meudon (a kind of crushed chalk), the printer then erases any remaining undesirable traces. This very delicate step is known as « paumage ».
The inked plate is then carefully placed on the the surface marks of the intaglio press and covered with a sheet of moistened paper to make it more receptive to the ink. Certain prints can also be created using the chiné-collé technique on hand-stained Japanese papers, remoistened at the time of printing.Once the paper has been cut to the format of the copper plate, it is then gently placed on it. The whole is protected by swaddling clothes.
By activating the press wheel, the printer allows the plate and paper to roll under the cylinder to allow for the transfer of the ink. Using mitts, she then removes the sheet to reveal the proof. Still wet, the print must be left to dry between blotting and box papers.
Signed, sealed, delivered
Once ready, the print is then signed and numbered by the artist, before being placed in an archival conservation paper with its certificate of authenticity. Framed or unframed, it is then packed and protected in the enclosure of a black box specifically built to its size.