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[TAPPING]

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I started printmaking for the first time when I was in Europe, when I lived in Sweden.

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I was making prints... I was in the graphic department of the academy at Stockholm,

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And I did etching for two years.

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[TAPPING]

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I hadn't picked up etching for many many years

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until I started working with the Paulson Press people on these prints.

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So, it is a way to revisit some of that memory of learning the techniques.

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Of course, I'm a very different person now than I was then, so that's been kind of fun.

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I think I try to make work that's about the ideas in the sculpture without making pictures of the sculpture.

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It's been a little tricky because I'm suddenly going into two dimensions

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After working and thinking in three...

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You have to ask yourself, "What is this about?"[br]

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I mean, is this about making pictures of ideas that you want to do,[br]

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Or is about really the idea of trying to make a drawing that has its own reality.[br]

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And that's the challenge.

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Prints are direct. It's very freeing to work so directly.

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There's an element of immediacy about it, or there should be--

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In my hands it often isn't [LAUGHS]

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Because I tend to be difficult to satisfy In terms of getting it the way I want it.[br]

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[WOMAN #1, OFF CAMERA] Let's hold that up so they can see.

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[PURYEAR] It's nice.

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[LAUGHS]

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[WOMAN #2] Yeah?

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[PURYEAR] Ah, it's nice. Yeah.

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[WOMAN #1] Subtle shifts. [LAUGHS][br][PURYEAR] Huh?[br]

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[WOMAN #1] Subtle shifts!

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[PURYEAR] Yeah. They make a big difference, don't they.

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[WOMAN #1] Alright, let's put that up.[br]

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There is the potential for much more spontaneity with prints than there is with the sculpture,

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Which tends to be very very slow, accretive kind of process--labor intensive.

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[WOMAN #1] Is that straight?

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[PURYEAR] That one's good. [WOMAN #1 AND WOMAN #2] Yeah! Woo hoo! [WHISTLES]

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[WOMAN #1] We're happy now!

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[PURYEAR] Well, I wouldn't say that.[br][WOMAN #1] Aw... [LAUGHS]

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[PURYEAR] [LAUGHING] We're getting there.[br][WOMAN] Come on, Martin!

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[ALL LAUGHING]