In my last installation regarding the artists in the Print Matter(s) exhibition, I am focusing on two artists and their different exploitations of the matrix.

Artist Cathy Weiss works in woodcuts following a great tradition of artists who have used the media for its expressive and physical qualities. A close correlation could be made between Weiss's work and many German Expressionist prints. But unlike these artists Weiss's plays with the matrix and how she uses it to create a finished print in layers that keeps each layer separate while creating a complete image. Rather than printing her blocks one on top of the other on an opaque piece of paper, Weiss prints each layer on a ghostly thin piece of Japanese paper, creating layered prints with a sense of depth and mystery. Forms emerge as items appear above and below each other, demanding the viewer to stop and peer through these layers to reach the complete understanding of Weiss's work. The mystery created in her presentation is a wonderful complement to the conceptual nature of her work that focuses on the often-unexplainable notions of faith and love.

Peter De Pelsmacker also takes full advantage of the matrix in his works. Creating an intaglio plate, Peter develops an installation by continuing alteration and printing of the same plate. With some similarities, but with many more differences his groupings of prints highlight the passage of time and the way printmaking can present a history of the creative process. His works seem to be both ephemeral, as they capture a moment never to be recreated, as well as concrete due to their often dense inky surfaces. Shown in a formal grid, the work smacks of minimalism while also developing a rich sense of the physiology of touch and time.