Photo intaglio bridged with traditional and digital drawing methods comprise the foundation of Templeton’s work. The balance between these approaches alters according to immediate conceptual needs and desired visual outcomes while remaining open to the inclusion of other materials. Over the last few years, new research and collaborations have been transforming her typical printmaking methodology.
I approach my work without any preconceived outcome. The photographs I begin with act mainly as immediate visual records that are manipulated throughout the photographic printmaking process. During the production, I have the opportunity to alter and reduce the photo imagery, simplifying it and simultaneously broadening its meaning by drawing attention to the essence of the subject. I adjust the digital image through multiple means before adding etching. I then work the image extensively by hand, sometimes adding gold leaf, stamping, or transfers, which enable me to explore the print’s physicality through material resistance and tactile awareness.
Throughout my working process, I have discovered that what might be mistaken as technical artificiality becomes a catalyst for the organic process of seeing and feeling. Consequently, the reworked image reveals deeper complexities and the profound but intangible results of experience.
I closely consider the relationship between my works and other modes of image-making to discover what might spark exciting challenges and produce the most enigmatic investigations of my topics. This examination is aided by my working with other artists and academics, traveling to conferences, and persistently upgrading and refining technical skills along with furthering my readings, travel, and photographic journaling.