\u00a9 Andrew Montgomery<\/i> <\/span>\n<\/div>\n
With her curiosity piqued, she started researching. \u201cI first thought I could Google \u2018nature printing\u2019 but there was nothing out there,\u201d says Pia. She eventually discovered that, while nature printing began simply as a method of inking up a leaf and taking an impression on paper (widely used by physicians to make plant records in the 15th century), during the 19th century a new form of nature printing was developed as new technologies enabled the production of printing plates.<\/p>\n
\u00a0<\/p>\n
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\u00a9 Andrew Montgomery<\/i> <\/span>\n<\/div>\n
Through endless enquiries and searches, Pia finally found all the pieces to the puzzle. A dried plant specimen was pressed into a sheet of lead and this impression was then copied using electroforming (suspending the piece of lead in an acid bath and, using an electric current, growing a layer of copper on it) to produce a copper printing plate. Numerous prints of the plant could be made. But the craft died out by 1900 \u2013 it was too costly and lithography took its place.<\/p>\n
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\u00a9 Andrew Montgomery<\/i> <\/span>\n<\/div>\n
Pia has since taught herself the process of making the plates and has recently produced her own in her Hackney studio, which means she can now print as many giant oak leaves as she wishes and put together editions. She has also gone to great lengths to perfect her technique; working out the correct paper and inks, the extent to which she applies and wipes off the inking on the plate \u2013 even the number of blankets on the press. \u201cI can see that the prints I\u2019m making have the same quality as they had then,\u201d says Pia. \u201cI love how the physicality of the plant is transferred into the plate and the print is more like an X-ray. I also love that you can send a plate through the press and find this curious image at the other end.\u201d<\/p>\n
You can find out more about Pia\u2019s work and what she is doing now on her Instagram page<\/a>.<\/p> <\/body><\/html>\n
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