A Sense of Place

A Sense of Place
A Sense of Place

Monday, July 14, 2014

a little party with a view
midnight | saturday, july 12
20 jay street

top floor view
BROOKLYN BRIDGE







Monday, June 30, 2014


MY FOUNDATION IS SET IN STONE
exhibitng in
    
LOOK AGAIN: ACM Collection Inspires The Boston Printmakers
 exhibition dates | May 17 - September 6, 2015
opening reception | Sunday, May 24, 2015 | 1:30 - 3:30pm 

Duxbury, MA 


Members of The Boston Printmakers, myself included, are working exclusively with The Art Complex Museum(ACM) on the regenerative exhibition, LOOK AGAIN: ACM Collection inspires The Boston Printmakers, that includes prints from Hiroshige, Hopper, Whistler, Rembrandt, Dürer, Tiepolo, Leighton, Kollwitz and our founder, Türe Bengtz

For this collaborative exhibition, ACM’s contemporary curator, Craig Bloodgood, and collections manager, Maureen Wengler, selected 42 works from their collection for response pieces to be created by members of The Boston Printmakers. 

I chose Kenneth Kerslake’s, A Sense of Place, a photo etching and aquatint that he created in 1977. Below are several statements from Kerslake that greatly inspired and influenced the process for creating my print, MY FOUNDATION IS SET IN STONE. 

Statements from Kenneth Kerslake:

“Printmakers do what all artists do: create images that reflect their world, project their values and interest in the human condition, and imaginatively explore their visions.”

“In printmaking, the materials promote “process” or the development of a thought or feeling as it is challenged by the materials itself.”

“The prime responsibility of the artist is to transform the ordinary, to endow it with the emotion and visual content – to create an image capable of touching other minds and hearts.”

The Process 
I discovered that the The Brooklyn Museum has an artist proof of Kerslake's print, A Sense of Place (shown below), in their print collection. In October 2013 I arranged a viewing appointment with Alison Karasyk, Curatorial Assistant in American And Decorative Arts, and was brought into the museum's Print Study Center to see the actual print.

Alison Karasyk, Curatorial Assistant in American And Decorative Arts in the museum's Print Study Center, removing the print's protective glassine sheet
Inspiration photo of DUMBO/York Street for drypoint etching that is chine collé'd to the center of, My Foundation is Set In Stone.
Detail of carving bridge for the DUMBO plate using the scribe, a tradional etching tool.
All printing plates are created and printed in reverse.
Finished print.
The Japanese dye, Kakishibu, is brushed onto 42"h x 30"w sheets of 300 grams BFK Rives for the embossed border print. The dye becomes darker when exposed to the hot sun. Dried plants are laid on top of the paper to block the sun, creating subtile patterns on the paper.
 Analine dyes are then poured onto the paper and the excess is rinsed off with water.
The finished sheet after being dried and ready to be printed with the embossing plate.
 Inked embossing plate set up on the press.
 Additional artist proofs of print(s):


Sunday, June 1, 2014

INLIQUID art + design's  ART FOR THE CASH POOR

Crane Arts Building
1400 N. American Building
Philadelphia, PA
Saturday, June 14 + Sunday, June 15, 2014
Additional ticketed preview on Friday, June 13, 5:30 - 9 pm

I will be presenting covered boxed and handbound artist books at INLIQUID art + design's fabulous annual block party-style event, Art For The Cash Poor (AFTCP). Created specifically for the event, all my pieces are one-of-a-kind, and have a price cap of $199 and below.

None of the boxes are pre-fabricated; all the structures are handmade. Using the Japanese decorative paper methods, Itajime Shibori and Suminagashi, I hand dyed kozo and gampi papers to cover the boxes and books. I then selected pre-existing watercolors or prints from my archives, artworks that are not castoffs but haven’t any specific uses, to complete the final pieces.

12" square + 11" square boxes covered with watercolors of spring trillium
15" square box covered with watercolor of cone flowers and inside view of text print
 12" square box covered with bodice print and inside view of text print
  20" square box covered with watercolor of Longhorn bull and inside view of text print
11" x 7" landscape hand-bound blank-page book covered with watercolor of lilies + inside front page showing 
 blind embossing and dyed decorative paper

Monday, May 12, 2014

EMBRACING CONTEMPORARY PLATFORMS OF DISPLAY

  
graphic prints
MIND IS IDEA + IDEA IS BODY and THE EXPRESSION  
Featured In Tate Britain’s Installation | Pattern, Graphics, Print 
On view until May 31, 2014

MIND is idea + idea is BODY 

the EXPRESSION


Shown digitally on screens, the prints are presented along side the original artworks of Sir Eduardo Paolozzi from the Tate collection. Using 21st-century digital and social media platforms such as Tumblr and Instagram, the installation presents large numbers of images in a single location.

Curated by Tate Collective London, the installation is part of Source Spotlight Display, a program developed for young creatives 15–25 years to create, experiment and engage with the Tate Collection at Tate Britain and Tate Modern. 



Monday, April 28, 2014

SHIFT OF THOUGHT exhibiting in

Printmaking Center of New Jersey
Branchburg, NJ

April 26 - June 14, 2014
Exhibition Opening Saturday, April 26 | 1 - 4pm


Juror, Agnés Murray, has selected an impressive group of prints for the current exhibit at the Printmaking Center of New Jersey. I am honored to be exhibiting once again at PCNJ, having a great respect for the center and Executive Director, Linda Helm Krapf.

Below, SHIFT OF THOUGHT, on view at PCNJ.

  
The much admired woodblock print, The Legacy We Leave, by Philadelphia-based artist, Jeff Dentz.

  
RURAL LIFE = New Jersey
On the road to Princeton, I stop to view the Raritan river at the Neshanic Station.


Exposed roots of huge, dead trees line the shore of the Raritan river.


While staying the night with my dear friends + patrons, Scott Kisler and John Krause,
I experience the tranquility of rural life in their near perfect Princeton home.



My mixed-media painting, Same Mind, hung near the entrance to Scott + John's kitchen.


A corner of John Krause's working studio.


John Krause's self-portrait done as a young lad. Let me be of the same mind; unforced and free.



Wednesday, March 26, 2014

the influence

MoMA | Museum of Modern Art 

March 8 - June 8, 2014 

The exhibition rooms seem to be emitting only a small amount of light. The walls have been painted chartreuse yellow and a dark teal blue. It's not quite time for lunch but I become so hungry I can't concentrate.

 

This exhibition focuses on Paul Gauguin’s rare prints and transfer drawings. I am smitten by his choice of the ground color that he uses in his almost blackened woodblock prints; a bright burnt sienna orange.

 

I return to my studio and commence work on my Eastern State Penitentiary series printing with a parole orange + burnt sienna.

 

 Shift Of Thought

I AM THAT I AM 









Monday, March 10, 2014

BROOKLYN STUDENTS REINVENT THE MEANING OF ITAJIME SHIBORI 


Arts Day Festival 2014
PS 261 Elementary School
Brooklyn, New York
March 7, 2014 

Itajime Shibori = Japanese method of dying paper and fabric by the shaped-resist technique.

Once again I was asked to teach a workshop to Catherine Pacilio's amazing 5th grade class on the Japanese decorative papermaking technique, Itajime Shibori, during the school's annual Arts Day Festival.

The initial step to achieve the traditional Itajime Shibori pattern is to fold the kozo paper into an accordion fold and clamp it with your fingers. 


The folded paper is then dipped into liquid paint and when unfolded you can achieve something that looks like this:


Ms Pacilio's 5th grade students collectively chose there own individual paths to creative glory. Many students even plunged their hands into the liquid paint to further express their drive for creative freedom.