Copper Sulphate Saline Etching: An Approach of Nontoxic Printmaking in Contemporary Indian Art

Abstract

Toxicity is a major problem that aligns with chemical pollution affecting the environment and human health. Many commonly used hazardous art materials cause pollution within studios and have toxic effects on those involved in art practice. Especially in conventional printmaking, materials such as chemicals, acids, and petroleum-based solvents are hazardous and highly toxic. It is important to note that many non-hazardous alternatives for all four major methods of printmaking (relief, intaglio, planography, and stencil) have been developed since the late twentieth century by advanced printmakers around the world. Awareness of toxicity and sustainable art practices has been widely disseminated through internet platforms and various workshops, camps, and residency programmes in advanced countries since the beginning of the twenty-first century. However, non-toxic printmaking materials are highly expensive and are not readily available in the Indian market. Despite that, a few Indian printmakers have begun to practise non-toxic practices by sourcing and arranging the required materials from those available in the local market. Copper sulphate saline etching, also known as salt etching, is a process of intaglio matrix-making for aluminium and zinc plates that is non-hazardous and safer than conventional etching methods. The practice of this medium has been expanding in both institutional and contemporary contexts. This text discusses the activity and practice of “copper sulphate saline etching" and its outcomes in key Indian printmaking centres such as Delhi, Kolkata, and Santiniketan. The study focuses on qualitative research approaches that have inspired printmakers to explore new directions in Indian printmaking.