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
I am a printmaker living and working in Austin, Texas. My work is informed and inspired by the myth, culture, and traditional arts of the lands of my heritage: the American South and Eastern Europe.
I create fantastical characters and use them as a means to explore ideas of the bittersweet moments of human interaction.
I wrap these characters within worlds of magical realism that evoke a history and culture that could be found in folklore or fairytales, both of which are a big inspiration for me.
More recently I have been exploring ideas of memory and burden, and ideas of sin and redemption.
I am currently working on a series of eight 3 x 5 Â˝ foot hand-carved woodcuts titled "The Villagers: Carrying Things from Home.â€ť Iâ€™m using these Villagers as a way to depict the intention and accountability of oneâ€™s actions and carrying the burden of those actionsâ€™ consequences. I am currently co-publishing the series with Flatbed Press in Austin, Texas.
Nature provides an ever-changing and fascinating subject for my artwork. The myriad colors displayed by nature and its creatures inspire me to create art in the attempt to evoke in the viewer the same emotional response it creates in me; feelings from peace and a sense of wonder to excitement, even exhilaration, based on the coloration of foliage and flowers. My garden is a large part of my world and it is filled with color, shapes, and textures which changes from season to season; I have only to step outside my house to discover an idea for my next print. The wonder that comes from planting a seed and tending it from sprout to blossom is almost indescribable. It is a journey, much like creating art, as it is full of possibilities and an uncertain outcome. What adversities must be overcome; will it thrive and meet its full potential? It is with the intent of sharing this excitement and joy that I create my artwork.
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.
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).
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.
My art is a gift from my Father. I am blessed beyond measure. It is indeed a part of who I am.
Experimentation with various mediums and the manipulation of those mediums is a driving force which provides interesting puzzles in need of solving. When I am in that place...experimenting and trying to solve that puzzle...I am joy filled.
I also like to work in series. It is freedom giving. Some series never make it past the first in the series, but had their beginning with a series in mind. Series tend to allow for building. A new concept is not needed each time I approach a blank paper or canvas. There is already something their awaiting to be built upon.
My current body of work is based on diseased tissue of the heart, lung and liver tissues. I use this imagery to explore the negative and positive aspects of mutation at a cellular lever, and how it is both destructive and innovative. I break the imagery down into simple, formal, fundamental shapes to create cellular elements which become the tools of my drawing practice. With the development of electron microscopy, I imagine to possess the same filter when choosing the color and composition of my prints. I attach lighting elements to create the experience of looking though a microscope and to add life to the produced tissue samples. Depending on what emotion I want to represent, the imagery will either be a simple composition to emphasize the basic organic growth of life or a very chaotic scene to display stress and tension. I use repetition to give an identity to the cells and the importance of each one's placement.
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 have a fascination with nature and I love collecting seeds, bones, and oddities I find in the streets. These often inspire ideas along with images I dream. The evolution of those ideas through drawing and the solar intaglio printmaking process is challenging but exciting. Imagination plays a big part in the formation of images and I find it satisfying when it all comes together.
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.
This group of collagraphs is a collection of monoprints intended to reflect Earth and its perpetually changing lithosphere--a shifting, churning strata marked not only by the forces of earth on Earth but also by manâ€™s hand.
We leave our mark with deliberate intent or by thoughtless elimination of unwanted remnants from our daily lives.
While some of the traces become treasures for future generations to encounter and to learn about our existence, others will lay beneath the surface until absorbed and will never be revealed to man. It is the beauty of this continuum and the transience of the elements that I wish to express. In calling forth these representations are strokes of color and slashes of texture that appear on the printed surface--bringing to me a satisfying surprise even though they are created by my hand.
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.
12/5/2013 - 12/28/2013
Dougherty Arts Center
Chair: Anna Kinbar
The deadline for this event (11/3/2013) has passed.