April Flanders
Filter (detail), monotype, screenprint, laser cut, 11’ x 38’ x 3” , 2019
“If science is the heart of my work, then color is the soul.”
April Flanders is an artist living and working in Boone, North Carolina (USA). Her approach to color is intuitive and expressive and her approach to printmaking is experimental. April’s intricate and often large-scale work is created with monotype, screenprinting and lithography in her prints, papercut works and installations. Currently she is working on a series of mixed media monoprints that address aquatic invasive species.
Are there specific associations towards color in your work?
Scientific research into invasive species is at the core of my work. I began this investigation on a global scale, but more recently I have begun researching specific ecosystems where interactions between humans and the environment have created problems with invasive species.
Currently I am focused on creating work about aquatic invasive species including plants, animals and microscopic organisms. The interaction between the invasive species and the entire ecosystem is of particular interest. None of these creatures exist within a vacuum, so it’s a constant predator and prey cycle and there are clear winners and losers.
Corollary Denouement, monotype, cut paper, gouache, 13.75 x 7.75, 2020
Precipitate, monotype, cut paper, gouache, 6.5” x 5.75”, 2020
Where do you reside between technical and intuitive in your work as an artist using color?
I never had a formal exposure to color theory, and so as soon as I could, I began teaching it. In doing so, I really learned color theory in a granular way. I am still fascinated by the way different mediums can affect the technical aspects of color mixing and color relationships.
I think my heavy focus on understanding color theory and color mixing had a huge impact on the way I use color. I used to prize neutral or pale color schemes. Now, I often gravitate towards a really saturated, bold use of color.
Opacity and transparency also play a huge role in my work. Using printmaking inks, both lithography and screenprinting inks, allows me to accentuate those relationships while also creating subtle difference in surface relationships.
“I really learned color theory in a granular way. I am still fascinated by the way different mediums can affect the technical aspects of color mixing and color relationships.”
Filter, monotype, screenprint, laser cut, 11’ x 38’ x 3”, 2019
What would your work be without color?
If science is the heart of my work, then color is the soul. I just don’t think my work would exist without color. It is definitely born out of a concept, and a somewhat cerebral response to research but I just don’t think I would be interested in creating it if I couldn’t use color.
I often begin a series by choosing my color palette. If I anticipate printing, I mix a set of inks and I create tap down samples. These go on the wall and I use them both as a visual cue, and a readily available color palette that I can then mix further. I want my work to be really yummy, just super, visually luscious and appealing. I can’t picture that happening without color.
“I want my work to be really yummy, just super, visually luscious and appealing. I can’t picture that happening without color.”