An extensive body of „etching“ works—a printmaking technique involving the acid-incised design of metal plates, inked and pressed onto paper to produce intricate prints—epitomizes Schlieker’s approach. A notable example is the acclaimed “Sylt” series from 1997 which is represented in the collection by three prints.
Most „etchings“ typically begin with a bold, direct intervention on the printing plate surface, employing an array of unconventional tools—metal brushes, drills, scrapers, screws, nails, chisels, and even pastry wheels.
The fine grooves collect the ink, which is then transferred on paper. But here the work only begins; what follows is the technique which gives this class of works its name – etching – to accentuate the image with big, counterpointed tonal areas – often documenting stages of the process in individual prints – as seen in two pairs of works from 1999.
Further refinements emerge through color variations, plate combinations, and changes in the printing process. This evolution is vividly exemplified by a vibrant, joyful series from the late 1990s, juxtaposed in the collection with the 2003 diptych that resonates with a darker, deeper, more existential tone. (Look closely to discern which plates and combinations were employed…)
My grandfather’s „etching“ process was as well captured by Christoph Böll who documented the work of Schlieker in his last years before his passing. It is a fascinating testament to the philosophy and craft behind the visual worlds he created.