Memory’s gaze, an empty bed.
Memory’s Gaze, an Empty Bed
9”x11”. 2024. Eco Etching (print), Zinc plate etched with white vinegar. Inspired by David Hockney’s drawings, inspired by Matisse.
For years, the question of how to effectively etch zinc plates for printmaking lingered in my mind; to bring intaglio printmaking into a modern context that acknowledged the environmental impact of its byproducts. My undergrad experiences in acid baths and EPA-certified chemical cabinets left me knowledgeable but unsatisfied, particularly as I transitioned into a professional career in commercial printmaking. The available alternatives—industrial water-based inks with their synthetic odors or hobby-shop block printing inks—had sufficed in my penniless student days but felt inadequate for the ambitions I now harbored.
Rediscovering a few leftover zinc etching plates from my undergrad years became the catalyst for experimentation. Living in a rural community, I sought an etching process that was not only effective but also safe, affordable, and accessible. My search led me to an unexpected solution: white vinegar—a household staple as reliable as it is ubiquitous. A blog on blacksmithing, of all things, revealed vinegar’s surprising potential for safely removing zinc, a byproduct of their craft. Armed with this knowledge, I embarked on a journey to adapt these methods to my artistic practice.
The next challenge was finding a kitchen-safe hardground and softground to block the vinegar’s etching effects. Beeswax and soy wax, both of which I had on hand for candle-making, became my materials of choice. Preheating the zinc plates in a low-temperature oven allowed me to apply the wax evenly and later remove it cleanly. This process proved finicky, with my first attempt yielding a too-thick layer of beeswax that trapped air bubbles, blocking the vinegar from etching effectively.
The blacksmithing blog recommended a 24-hour soak for complete zinc removal, but cautious of over-etching, I opted for shorter durations. My initial attempts produced only a dull shine, forcing me to refine my methods. Over multiple trials, I learned to adjust the wax application and soak time, eventually achieving a satisfying “bite” in the plate after a cumulative 16-hour etch. In this process, I discovered that the thin wax skins left on parchment paper from earlier attempts could be repurposed to create tonal effects—a revelation that added a new layer of nuance to my work.
The Empty Bed
This experiment in kitchen-safe etching was as much about process as product. Selecting a subject was challenging: I needed something simple enough to redraw repeatedly, given the fragility of beeswax under the rugged conditions of the vinegar bath. Yet, I didn’t want to sacrifice aesthetic ambition. My art often wrestles with this tension—how to distill abstract ideas into something tangibly beautiful.
I found inspiration in David Hockney’s contour drawings of sleeping figures. His depiction of bedsheets—cradling and enveloping their occupants—evoked a sensuality that felt at once intimate and distant. Hockney’s line work suggests a loving gaze, though one tinged with the detachment of an observer. As viewers, we become "the other," watching without being seen, held apart by an invisible boundary.
Beds themselves hold multitudes. They are repositories of metaphor, emotion, and memory. For some, a bed is a place of safety; for others, it is a stark reminder of absence or hardship. The universal act of resting somewhere—be it on a straw mat, cardboard, or a plush mattress—binds us in shared vulnerability.
To honor this subject, I chose to pull a ghost print from the plate. A ghost print, created by reusing the plate without re-inking it, leaves behind faint, ephemeral lines—a haunting echo of the original. It felt like the perfect medium to evoke the fading warmth of a bed or the intangible quality of memory itself. The ghost print captures that fleeting moment when the sharp clarity of recollection begins to dissolve, leaving only a delicate trace behind.
Memory’s Gaze
Memory, like a cooling bed, is fleeting. It begins vivid, shaped by the textures, scents, and sensations of life, but over time, it becomes spectral. Is memory an internal phenomenon, or does it live in the external world, triggered by familiar smells or colors—the scent of roses, the warmth of wool, or the golden glow of evening light?
The act of remembering is often a struggle against forgetting. Faces, voices, and moments we once believed unforgettable inevitably blur with time. Memory is both noun and verb, an entity with its own gaze and a process of continual reconstitution. Like the faint lines of a ghost print, memory leaves behind whispers of its former vibrancy, a haunting echo of what once was.
The empty bed, then, becomes a metaphor for this phenomenon. Its once-vivid warmth fades as the day wears on, much like our grasp on the details of the past. And yet, even as memory cools, it retains its power to evoke longing and connection. Whether through a lingering scent or a faded photograph, memory anchors us to the places and people we have known.
In reflecting on the alchemy of beeswax and vinegar, we uncover an artistic process that transforms everyday materials into a medium for creative expression. This interplay between natural elements and human ingenuity mirrors the philosophical connections explored earlier, where the mystical and mundane converge in the act of making. With this in mind, the following step-by-step directions provide a practical guide for engaging with this process, inviting you to explore its possibilities firsthand.
Step-by-Step Directions for Beeswax Ground Process & Vinegar Etch Bath
Materials
Zinc plate: Size of your choice.
Plastic bin or tub: Large enough for the plate to lay flat and deep enough to submerge it fully in vinegar. A lid is recommended.
White vinegar: Enough to cover the plate with about ¼” between the plate and the surface of the vinegar.
Beeswax pellets or pieces: Only a few grams needed to coat the plate evenly.
Cookie sheet or bakeware: Large enough for the plate to lay flat.
Small oven-safe item: Such as a lid or bread pan, to fit inside the bakeware.
Parchment or wax paper: To protect the bakeware.
Toothpicks or similar sticks: For mark-making. Avoid metal tools, as they can scratch the plate.
Directions
Laying the Beeswax Ground
Preheat oven: Set to the lowest bake setting, 160℉ (71℃). Do not exceed 180℉ (82℃) to avoid warping the plate.
Prepare bakeware: Line it with parchment or wax paper to prevent beeswax from sticking.
Clean the plate: Wash with dish soap and a soft sponge to remove all oils. Avoid touching the surface with your fingers.
Position the plate: Hold by the edges and lay flat on the prepared bakeware.
Add beeswax: Evenly distribute pellets over the plate. Use just enough to form a thin, uniform layer when melted.
Melt the wax: Place the bakeware in the oven. Ensure the wax melts completely, with no gaps or unmelted chunks. Aim for a layer about 3 millimeters thick (toothpick-thin).
Cool the plate: Remove from the oven and let cool on a flat surface to prevent shifting. Allow the wax to cure fully for 24 hours or overnight.
Marking Your Plate
Make marks: Use a toothpick or similar tool to carve into the cured beeswax. Avoid metal tools to prevent scratches.
Be deliberate: Ensure consistent contact with the plate. Remove excess wax and save scraps for reuse if desired.
Consider spacing: Leave adequate space between lines to prevent the wax from detaching. Thin wax layers may allow finer details but risk insufficient adhesion.
Preparing the Vinegar Etching Bath
Position the plate: Lay it flat, beeswax side up, in a plastic bin.
Add vinegar: Pour slowly into a corner of the bin to avoid disturbing the wax. Fill until there’s about ¼” between the plate and the vinegar surface.
Cover the bin: Secure the lid to contain odors and prevent spills.
Etch the plate: Leave in the vinegar bath for 18–24 hours. Avoid extended periods, as the vinegar may begin dissolving the wax.
Removing the Beeswax Ground
Preheat oven: Set to the lowest temperature (no higher than 180℉/82℃).
Prepare bakeware: Place parchment paper over a smaller oven-safe item in the larger bakeware. This will allow melted wax to collect below the plate.
Angle the plate: Lean it against the smaller item at a steep angle, but stable enough to prevent falling.
Melt off the wax: Place in the oven until all wax has melted off.
Clean the plate: Once cool, remove residual wax with cooking oil, then wash with dish soap and a soft sponge.
Dry the plate: Pat dry or air dry, and your plate is ready to use—Happy printing!
