Night Wind by June Wayne
From 1960-1970 Wayne was busy founding and directing the Tamarind Lithography Institute on Tamarind Street in Los Angeles. Despite this heavy administrative workload, however, she produced a phenomenal 35 of her own lithographs. After a decade, the Tamarind moved to New Mexico under the direction of fellow printmaker and friend Clinton Adams. She was now free to concentrate on her own work in Los Angeles now with the help of very experienced and productive master printers (including Serge Lozingot from the Mourlot in Paris and the Tamarind trained master printer William Law).
The 1970's turned out to be one of the most productive and innovative decades of her entire printmaking career. Fascinated with science and technology from early in her artistic career, she immediately embarked on an ambitious series exploring human genetics called the Burning Helix. This was followed by an exploration of Waves in an innovative series of iterations. This was also a time when Wayne was exploring tapestry as an art medium, producing some of the most dramatic modern themes via tapestry.
1972 marked the beginning of new exploration lasting the entire decade for Wayne exploring themes of the individual, through the human finger print, known as the Visa series and the entire universe, exploring not just waves but stellar winds and gravity. Cosmic imagery that inspired poets, like John Donne over prior centuries, was now superseded by a new understanding and vision of the cosmos as scientists began to see farther and deeper into the universe.
After producing an innovative series exploring stellar winds starting in 1972 using a novel treatment of color, Wayne produced a seminal work in black ink titled Silent Wind in 1975. She experimented with different techniques including the oxidation of the zinc plate itself to produce novel and different visual effects. It is in this context that Wayne drew on the experience and aesthetic of Silent Wind to produce Night Wind just the following month in a signed edition of only 25. What was unique in this work, however, was her random dropping of sugar granules onto the plate that was then smashed by the press during printing to create a unique image with each new edition number. Consequently, she said of this work that "There are no two alike" making every print unique.
Technical Details: Lithograph on Rives paper. Sheet size 15 x 13 inches. Edition number 3 of 25, signed in pencil. Printer - Ed Hamilton, May 1975.