In my studio, I usually think in terms of mini-narratives and metaphors. The formal elements come later, after I begin to work on an image.Leaving specific information out helps make the images more open to the viewer. The finished image may not have the same associations or meanings for viewers, but it might.
Recently I've been venturing into Textille Art, using print processes on cotton rather than paper. This has been really fun, I'm interested to see how far I can go with it--
I was diagnosed with talent at an early age, and was always the artist of the family. I was proud of my draftsmanship, but as time went by, I realized that I couldn't take credit for my talent; it was a gift. What I do take credit for is the effort I have made through the years to master my craft, those areas of printmaking that I focus on: mezzotint, etching and linoleum. My preferred subject is the human face and figure. I am fascinated by faces, and in trying to capture them I increase my understanding of what it means to be human.
The natural world is my muse. The complex process of printmaking – from the selection of plate surface to the choice of inks – is inspired by the subject matter. The concerns of our environment, man’s impact on his surroundings, and the future of the planet influence my subject choices. There is beauty in small moments; my goal is to capture the essence of those moments.
I print at Slugfest in East Austin. You can see more of my work by visiting www.tbondartist.com
Art is something that has always been a part of my life and it is quite unimaginable to me to have a world without art. It is a passion and the place where I can feel dreams coming true. Printmaking has the added adventure with the image being revealed for the first time on the press. It is quite a grand experience!
I create abstract woodblock prints to investigate and respond to the visual, tactile, and experiential world. I make these works by carving marks into wood that is then rolled with ink. The inked impression is transferred to paper by rubbing with a wooden spoon. Each layer of color builds a surface that is both planned and accidental. Printing and carving occur in stages—I cut back into the same blocks over and over again through time. In this way, as the print is created, the blocks are destroyed. I view the process of relief printmaking as a metaphor exposing the gaps between the physical, the imagined, and what we perceive as the "seen” reality.
My imagery resides in this gap between visual impressions and the conjuring of names or descriptions. This gap is what separates the familiar from the unknown and is where I try to situate each work. I juxtapose the sensual and visceral against the spiritual and symbolic and create realms where the sacred and profane exist in tandem. To accomplish this, I obfuscate, deconstruct, reassemble, and transform visuals culled from my perceptions of both organic and man-made environments, dreams, memories, and learned or imagined myths.
I aim to discover images that deliberately set on edge the associations we bring to forms. In other words, I use forms that might mean many things, have several names, or be both whimsical and terribly dark at the same time. Since the process of constructing narratives is fluid, active, and personal, each viewer completes the work, bringing his or her own associations to bear in how to decipher each piece. It is in this open space—this stream of ever-changing perceptions, before mental categorization and verbal assignments—where we discover how to bridge what we see with what we know.
Lately when I create art it is about getting out of my own head. Letting go of control over the world and planning every minute. It is a kind of meditation that allows my emotions to spill onto the page without being filtered, judged, and edited. I try to let my subconscious direct the process. I like to use organic materials I collect from my yard and on walks. I also use cut paper and found objects in my work. I love that what is essentially a weed can turn into something beautiful on the page and it has given me a new way of looking at the world around me. I have found that art helps me to be more intuitive, creative, and relaxed in all aspects of my life.
I strive for Magritte's basic intention, to make art with a "disturbing poetic effect."ť My work presents exotic subjects in the drama of black and white, or the subtle monochromatic tones of printers' inks. The prints are based on my photos of real places and slightly mysterious objects that are embraced by a post-apocalyptic anxiety, which induces a state of psychological unease in the viewer. The images raise questions, but knowing the back story doesn't necessarily provide comfort. The result is by turns intimate, earthy, fragile, universal, and contemporary. The images are full of the organic subtlety showing the naked beauty of weathered rock and plants, contrasted with man-made architectural elements. The organic elements complement the man-made. In purely aesthetic terms, the works use an interplay of tones and textures, with formal qualities of composition in the arrangements of objects under the viewer's gaze. The unfamiliar induces a state of ambiguity mixed with a strange longing or nostalgia. The camera captures temporal events, figurative and narrative, fragments in the cycle of life and death. History is revealed in multiple layers with an underlying order and inherent drama exposed in contrast and detail, painterly and sculptural at the same time.
My work is a constant search of knowledge, both personal and external. I concentrate on the consideration of life, time and space. My work synthesizes mythology and reality into dynamic environments in which spaces expand and contract unexpectedly. Using energetic patterns and lines, I create planes intertwined with people and animals creating an exuberant narrative. Recently I extended my interest into natural motifs in a series of mountain and forest landscapes, in which a principle moment appears frozen. Challenging the notions of time and sequence, in which the viewer completes the narrative.
I create dreamy, layered landscapes that evoke the history and memory of place. My recent work is based on travels in the Middle East, where competing historical narratives and cultural memories shape modern life. These works portray a shared landscape, repeatedly divided, and the beauty of a land we only hear about in terms of blood shed. Beneath the divisions of religion, culture or nationality we construct, lies the common human experience.
I discovered printmaking relatively late in life when I took my first printmaking class in 2001. I like the process and the surprises inherent in printmaking. I am continually amazed that I am able to overcome the mess and the dirt that are part of printmaking, but I like the creativity the process brings about.
I often use my own handmade paper for my printmaking, and I love how the unique characteristics of the paper influence the final print. I am also a gardener, and this is perhaps why I like to use images that appear in nature in my artwork (and in some ways my art is an extension of my gardening).
This is an artist statement. This is a statement artist. This is a statement of artistic proportions. This is the statement of the artist as a young man. This is is is is is is is is is is is is a stream of words compiled to form a definition of a personâ€™s creative essence. This is a series of sentences that are intended to convey one coherent meaning determined by the author/artist but may or may not be taken to mean something entirely different upon being processed by the reader/viewer.
I use various mediums (visual/written/audio) to explore my ideas. My bigger projects are about relationships in some way (either between me and the people I love or perhaps me and the world or perhaps between individuals and society in general), but most days I find myself creating something just to strike back at all the ugly in the world.
I was living in New Mexico when a fortuitous requirement of printmaking coursework for my graduate program in art therapy led me to expression in another medium. Since that time I have been exploring printmaking and creating soft ethereal-like inspirational images. The circle or circular movement can often be seen in my artwork. The circle is a universal symbol with extensive meaning--a continuous symbol that has no beginning and no end. Throughout my life I have created circles, benefiting from the sense of comfort, peace, and total integration.
How I feel when I am making art is perfectly described in what Don Miguel Ruiz says: "When you are in your creation and you are doing what you love to do, you become what you really are again. You are not thinking in that moment; you are expressing.” I love being in that space where I am not really thinking, I am expressing what I am feeling inside. One could say that I make art to please the eye and touch the soul.
Memory, location and nature, the inspirations
Texture and pattern, the fascination
Printmaking, the adventure.
The dance of the brush, the roll of the brayer, the work in progress; soul satisfying!
I currently create nature-related abstract prints. The line work images represent a small part of a natural being, such as an insect. As I work to create these images, I abstract them as I am sketching before I begin cutting my plates.
I also have created a series of prints based on imagery in an old book about geography: Map, Mail Stops, Contour, and Flight Path
And, I occasionally create a representational print such as Medium Brew, for the 2016 WPA Trade.
I'm fascinated with the printmaking process, especially the delightful surprises that come the first time a new plate is pulled. I gravitate towards the textural effects of collagraphs finding platemaking is only limited by oneâ€™s imagination. My work has been exhibited throughout the US but primarily in Texas, with a second solo show on the books for Chicago in 2015.
When in the print studio, I most frequently create Monotypes/Monoprints and, because of the freedom this process allows, these prints become wonderful partners to my paintings.
I enjoy blending narrative and portraiture (and sometimes a bit of humor) into my works. My style is influenced by the German Expressionists and the American Social Realists.
I view my work as a collaboration with nature. I make handmade paper with plant materials from my garden. My photographs are also mainly taken in my garden or on hikes. I am fascinated with symbols and intricate patterns that, to me, give glimpses and insights into to the great mysteries of life.
I am an artist with a background in graphic design, painting, drawing and photography. I am interested in exploring various ways of printing without a press. I have played with monotypes, cyanotypes, rust prints, eco-prints and my own original stencils. Currently I am experimenting with a Silhouette mint machine to make printing plates from my photographs. I then create a relief print on watercolor paper and hand color them with watercolor paints.
An interest in Japanese Ukiyo-e and German Expressionist woodcuts started my fascination with printmaking. It was my major at UT Austin, where I also learned silkscreen, lithography, and etching. The variety of printmaking techniques allows infinite possibilities for creating imagery. Currently I am focusing on linocuts and plexiglass engravings with monoprinting. I enjoy making multiples and find it a great method for sharing artworks with others.
I have created visual art all my life and my work has been a reflection of my surroundings, ongoing circumstances, memories, emotions and imagination. Most of my artwork includes women because that's how I've experienced life. Encircling movements occur often, a reflection of universal natural currents, the continuous flow of ideas, communication, and time.
12/1/2012 - 12/29/2012
Pump Project Art Gallery
Chair: Anna Kinbar
The deadline for this event (11/2/2012) has passed.