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applied genius of Rauschenberg and the various resultant works represented a confirmation of the worth of the stated philosophy of Graphicstudio.
At this point, Arakawa and Richard Anuszkiewicz commenced their work at Graphicstudio. For both artists this was the first time they had worked in lithography. Theo Wujcik, who had primarily turned to teaching at U.S.F., collaborated with Richard Anuszkiewicz, producing prints employing extremely light and delicate colors. Concurrently, the full Graphicstudio staff worked with Arakawa who utilized a broad scope of lithographic processes. the rewards of providing the technical information and collaborative support of the printers for these artists were particularly gratifying. The lack of preconception with which Arakawa approached the process enabled an image to evolve which was rich in color and tactility. The application of overlay rainbow rolls, photo-lithography, mixed media and collage application produced a richness unlike that produced in previous colorations. Working with Julio Juristo on the last print of the suite, "No, " Says the Signified, Arakawa drew four stone washes in an effort to familiarize himself with the media and to gain confidence in the printers' ability to properly etch and print the delicate tonal range he sought. In the final days of the proofing session, Arakawa asked Julio Juristo to prepare another stone and with swift decisiveness produced an extraordinarily rich and delicate wash which was eventually used in the last print.
In June of 1973 I met with Jim Dine in Paris to discuss a possible project. While becoming better acquainted, we discovered a mutual interest in plants and Dine sketched out a five-step metamorphosis of a rubber plant turning into an electric fan and asked if Graphicstudio could produce the work in aluminum. By mid-July Alan Eaker, assisted by David Martin, produced examples of a number of wave leaves, stems, and flower pots, which suggested ways in which the artist might wish to realize his idea. Some of these cast in aluminum to demonstrate the process and provide an idea of the aesthetics involved. After these pieces were reviewed by Dine and with the encouragement and financial aid of Paul Cornwall-Jones of Petersburg Press, the project was initiated. In order to participate in this project, Graphicstudio once again varied from typical procedure. Because of Dine's schedule and working style, the facility had to be brought to the artist rather than the reverse. With extraordinary efficiency, two-piece molds for the component parts of the plant and the fan were trucked to Vermont in August. Under the supervision of Alan Eaker, Dine was furnished with waxes of the basic components with which the artist fashioned what was to become a most compelling sculptural metamorphosis. Essentially, Graphicstudio was temporarily domiciled in a barn in Vermont. The components were wax-welded together as well as joined together with various types of plasticene. The leaves and fan blades were suspended from threads attached to an overhead grid in the desired position. The threads allowed Dine to adjust the relationships of the wax parts. Aside from an untimely heat wave which threatened the wax, the sculpture presented a formidable technical problem. The usual two-piece plaster or hydrocal mold could not be employed because the waxes could not be cut into smaller pieces for conventional mold-making without destroying some surface integrity and because of the suspension system employed. After extensive experimentation, Dow-Corning's RTV-G was used as the mold material for it offered a resolution of definition that was genuinely exquisite and its vulcanization would not be inhibited by the sulphur or linseed oils in the plasticene. Eaker delicately layered the waxes with RTV over a two-week period. The pieces were carefully wrapped in foam and shipped to Tampa for further mold-making. To accomplish the qualitative demands of the project, a special burnout kiln was designed by Alan Eaker and graduate student David Martin, utilizing kaowool, a material used as the heat shield in space vehicles. After the basic components were cast, David

Arakawa. Untitled 5. lithograph, 22" x 30". 1973. (Photo: Patrik Lindhardt.)