[TAPPING]

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

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

And I did etching for two years.

[TAPPING]

I hadn't picked up etching for many many years

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

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

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

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

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

After working and thinking in three...

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

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

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

And that's the challenge.

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

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

In my hands it often isn't [LAUGHS]

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

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

[PURYEAR] It's nice.

[LAUGHS]

[WOMAN #2] Yeah?

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

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

[WOMAN #1] Subtle shifts!

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

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

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

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

[WOMAN #1] Is that straight?

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

[WOMAN #1] We're happy now!

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

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

[ALL LAUGHING]