Molly’s lithographic paintings incorporate printmaking, oil, encaustic painting, and photography over a porous substrate.
Molly’s lithographic paintings on panels are a layered process, beginning with a substrate of either Venetian plaster or traditional gesso on the panel. On this rich, porous substrate, she applies powdered pigment and graphite to create an ethereal background. She works on a 4’ long heated ½” aluminum plate, where she lays her panel and applies a thin layer of clear wax, which acts as the ground for her lithographic imagery. She heats and scrapes the wax to achieve a surface that will readily accept the ink. Her imagery is often derived from photographic images, recalling her focus in art school at Porter College, University of California, Santa Cruz. After she photographs her subjects, she alters the imagery.
Molly studied under master printer, Mark Mahaffey and through experimentation they devised a lithographic process using oversized flexible lithographic plates where she prints her imagery. The plates are then inked up with lithographic inks applied with large hand rollers. She applies the inked plates to the waxed panel with burnishers. After printing, she finishes the painting in oils and powdered pigments, blending color over the dried ink.
Molly uses the same technique and mediums - except she applies thinner layers of wax, and includes encaustic paint. When she works with paper, she paints while the paper is on the heated aluminum plate.
Right: Author Tom Robbins in Molly's studio with the lithographic plates used in his portrait