Intaglio: Dorotea Kemenczy

Flower Constellation
Intaglio – Carborundum, 2020
Ontario, Canada
The inspiration came from walks and observation of rocks and the brave flowers that are growing between the cracks.
Method: Two-plate carborundum and chine-colle
The first acrylic plate was covered with fine grit carborundum paste through a silk screen mesh, and then worked into it with various tools to create marks. The second matrix was worked more as a relief plate by applying the carborundum paste with a brush onto the acrylic plate, as well sprinkling the grit over some parts. At last a piece of chine-colle was added. I used Akua water-based printing ink.

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All her life, Dorotea Kemenczy has been making art, and creative expression is at at the core of her being.

Dora was born in Europe in 1958, and immigrated with her family to Canada in 1987. She has forged her own path for the most part, learning from experiments, books, and other artists. However, she has also had formal instruction, and in the late nineties she graduated from Sheridan Collage, School of Continuing and Part-Time Studies, in Oakville in Illustration and Fine Art.

She loves to work in different media, and this ‘cross pollination’ brings out new ideas. The process of the unknown, of exploring, failing, learning and succeeding is a journey that keeps the work flowing. Many times the art tools or techniques provide the inspiration. other times, it is the environment around her: a play of light, an intricate surface, a simple pattern. Always, her inner life, thoughts, feelings, and unconscious, invite her to create. Communication with the outside world is very important to her, and when someone hears it, it makes the process that much more meaningful.

For Dora, a blank paper is the thrilling prospect that anything can happen. She lets her intuition take the first steps, without much preconception. Then at some point deliberate actions take place: less moves, more thinking. Eventually the happy feeling in her gut tells her it is done. She has been engaged in printmaking ever since contemporary techniques allowed the use of nontoxic materials. True to her self she works with multiple printmaking techniques, searching constantly for new modes of visual expression. Currently she uses a small Jack Richeson etching press, which lends itself to prints of smaller size.

Dora now lives in Mississauga, Ontario, and has shown her work at Visual Arts Mississauga, had illustrations published in the Canadian Living magazine between 1998-2007, the Home and Garden TV channel, and recently in a book published in Budapest, Hungary (“Legy az elet csodal6ja” by Eszterhai Katalin, ISBN 978 963 447 1424). Making art comes naturally to Dora, and her philosophy of life drives her to make it. In return, it teaches her to live life fully.

The other works submitted :

Tangled Thoughts

The inspiration for the artwork was the state of my mind in midst of making and printing a series of 30 mini prints.

Method: Pronto Polyester Lithography.

I created the artwork on paper with ink, scanned and printed it out with a laser printer on to the polyester plate. From there I followed the modern established method of working with safe printing materials. I used an etching press to print the plate.


The inspiration for the artwork came from observing nature in action.

Method: Single-plate monochrome Intaglio.

I created a digital artwork which I transferred to a copper plate with polymer photo-etching. I used ferricchloride

to etch the image in to the plate. Next I created a monotype print from an acrylic plate. On top of it

the inked etched plate was printed. I used Akua water-based printing ink an etching press for both plates.

Under the Bridge

The inspiration came from my fascination with the infinite blue colour of the sea. I tried to capture the

feeling when (l one can see all the way to the bottom of the deep blue sea.

Method: Two-plate carborundum and chine-colle

First the blue mono-print background was prepared on a fine Mulberry paper. The first carborundum plate was printed on in an intaglio manner, then the second plate in a relief manner. This second matrix I printed on rice paper as well, which was juxta-positioned as chine-colle.

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