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--
My work utilizes printmaking as a tool for communication. Through the use of varied editions, I explore the realm of human relationships through language and simple imagery. Keeping the work visually simple, I am able to better tackle and explore the complexities of language in the relation to our emotions and how we express feelings of heartbreak, humor, and the every day.
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.
Born on the Bayou, I became devoted to Printmaking while going to UNT. I graduated in it 1994 and I have continued to be involved in all aspects of commercial and fine art printing.
In 2010, I started Iron Frog Press. A small operation with a big Press, IFP is located Dallas, and caters to profession artists producing prints. In 2012 I co founded The North Texas Printmaker Guild.
Currently most of my prints are woodcuts. I enjoy working with the wood and I really respond to its illustrative quality; I desire this because my work is narrative.
The stories are usually an epic science fiction saga or a feminist fairy tale. But somtimes may even be a mundane anecdote. These storirs addres variety of themes such as: religion, politics, environmentalism, sexual mores, technological impact, and cultural decay.
I am a printmaker. I make Multiples. I believe in the propagation of ideas disseminated through the powerful and egalitarian media of prints. I make Multiples that give us a glimpse of who we are as human beings and the beauty of the world around us. I make Multiples to communicate, to elucidate, to reveal...to as many people as possible.
My work explores the grotesque found in every day life and amplifies it with a twisted rendering style. I find inspiration in graphic novel culture and heavy metal music, along with all things gross and twisted.
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, mans 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
âIt is not the slumber of reason that engenders monsters, but vigilant and insomniac rationalityâ
â Gilles Deleuze, Anti-Oedipus: Capitalism and Schizophrenia
My work delves into how humans interact with the remnants of the natural world. Like early Western naturalists, I often sketch and paint flora and fauna on site. Sketching helps me to connect with the subject. Later, I use the drawings as touchstones for my ideas. Whether in Texas or in Europe, place often affects my direction. In Finland, I observed weird winters with sparse snowfall and in South Texas, burgeoning abnormal male butterfly populations. Both experiences led to several bodies of work. I like to create more on a project basis than piece by piece. Animations, artistâs books, prints, and installations are common approaches I have taken. The materials I work with are often intrinsic to the content of the project. For instance, my book, Slick, is printed on rubber gaskets used in oil pipes. Sometimes, I pursue avenues outside institutional art venues such as a community center in Grand Isle, Louisiana, where I spoke with shrimp boaters and refinery workers. Aesthetically speaking, there is a lush awkwardness to my work. Metaphors relative to isolation, otherness, underpin many of my ideas. In a sense, nature has become one gigantic âotherâ. My work poses inferences and possibilities about this
Strong work is birthed from intimate familiarity. Where I live and work inherently influences my imagery acting as a sub-narrative. Themes echo my interest in understanding 'what it means to be human' whereby I often explore making invisible concepts visible: people in the act of thinking, narratives wherein something is hidden or revealed, and daily cycles of life against longer cycles of geologic or celestial time. By infusing the making of the art into the art, I capture a specific moment in time that contrasts deep rhythms and underlying forces. My desire, conceptually parallel to different tempos of time outlined by historian Fernand Braudel, is to capture these human moments within the larger context of universal humanity.
My work is narrative. Most of my art is about the human experience. I do it for the Love.
My work is driven by the investigation of the domestic environment and the suggested intimacy found within. I am interested in acknowledging the bed as the physical place where oneâs conscious self meets the subconscious self. Using severe abstraction achieved through the manipulation of the photocopy machine I explore the sublime that exists within the mundane of the everyday. The method behind my practice draws upon the desire to engage the viewer in a state of mental suspension, where the dualities of under/above, inside/outside, and light/dark have collapsed.
I employ the photocopy machine as a tool and exploit its immediacy, allowing me to capture ephemeral moments in a static picture plane. The photocopied image equalizes the subject by creating a starkly black and white composition. Repetitive scans enable a once flat picture plane to be distorted and obscure differences dictated by light and dark. The prints I create show darkness as a dense configuration of light, existing as form that is standing still.
My recent art works are produced from observation and photos, in which I explore texture and repetition. My art focuses primarily on the personal symbolism of these items and environments.
Veronica Ceci is an artist, Master Printer, independent curator and educator living in Austin, TX. Her work has recently been featured in exhibitions at The Manhattan Graphics Center in NYC, The Art Museum of Southeast Texas in Beaumont, TX and Werkstadt in Berlin, Germany.
One beautifully lit summer on the Northern coast of France, I fell in love with Printmaking.
My work is purposeful and drawing intensive.
I relish deploying classical traditions, symbols and archetypes in humorous and pointed ways.
Also, I deeply enjoy helping other people make prints.
smile for me
The Intervals Series from 2012, visually explores changing light effects across a landscape that appears suggestive of time passing. Executed in mostly blue pigmented inks, I employ monoprinting techniques on translucent plastics (polypropylene and polyester drafting films). I found the action of rolling the rubber brayer would cause the ink to skip or make laps irregularly, these marks appeared cloud-like, suggestive of sequential film negatives that suggest a panoramic view of the sky altered by shifting weather conditions. The width of the brayer also makes other regular marks of dense ink that occasionally build up or peter out to create a banding effect when rolled in horizontal stripes. I associate these âintervalsâ in the printmaking process akin to a build-up of photographic negatives that layer together to form an accumulation of memories and shifting viewpoints that fade in and out of light and darkness.
I moved to Austin 9 years ago from Minneapolis and it's been growing on me ever since. This town is like a giant, thriving artists' and musicians' cooperative! I learned how to screen print from my good friend Lori Jones. I hand draw (sometimes with the help of photo references) my designs and apply them to the screen using the photoemulsion technique or the filler technique, depending on the complexity of the design. I have been enjoying this labor of love for 3 years.
My work is an exploration of our floating world, the impermanent world that we inhabit.Â In this exploration I create drawings, prints, and collages of botanical life, deteriorating bodies, rising and polluted seas, colonized nations and volcanic eruptions of past and present. These representations, though, are not standardized illustrations. Rather they are narratives that have gotten lost along the way, blistered by the sun, told through various languages, and drowned out by floodwaters.Â The concern here is unambiguously concrete and scientific.
Â Â Â Â Â Â Â Â Â Â Â Â My tools for implementing this work though are not charts, diagrams, or graphs. Rather the devices at work are charcoal, gouache, printing ink, chile and turmeric powder, handmade paper, and oil paint. The scientific measuring in this case is not done with satellite nor seismograph but with my hand, arm, and body. My work manifests itself with these instruments of body and mind coupled with the decidedly unscientific means of metaphor. As such my movements with charcoal, gouache, and ink upon the paper are registrations and reflections of a crude and absurd nature for gauging and studying our world, but in their rawness and irregularity they truly reflect and engage our state of being in this floating world.Â
De La Rosa , Jesus
I practice several printmaking processes, serigraphy, lithography and digital media to make prints that address Texas/Mexico borderland culture, issues and identity.
My current prints and drawings use pared-down figurative imagery to explore psychological complexities of identity. These images isolate narrative fragments that explore the memory of personal experiences, and ultimately survey how these ventures shape self-image and projected identity. Figurative interaction and the body language of characters implies human discourse at its most banal level. Each figure's gesture and posture says something specific about how we individually react to situations when surrounded by our peers.
The figures in my works play with the attractive and accessible qualities of the human body, and are dressed enough to introduce ideas of pain, embarrassment, discomfort, vulnerability, and femininity. I clothe the figures as a reminder that they are not simply forms in space, but have a very specific tie to real people. Additionally, clothing acts as a medium for what we wish to tell others about ourselves, and this supplementary facet of communication rounds-out the gamut of non-verbal identity dialogues.
My work is not intended to detail an entire conversation, but to iterate vital moments of growth or realization within longer, more complicated series of events. Using bare contour line, I describe figures without much incidental detail. Reducing these images down to only essential marks reduces the sentimentality.
ink, paper, image
alone, working happily
now one with myself
As an artist it is my nature to observe, express, and share my environment, and for me, this process is the force that drives my need to create. I find inspiration on a daily basis by extracting visual elements from my surroundings. I find it in the simplest architectural forms, repetition in nature, and in the wide range of color and texture that exists in the urban landscape. I collect these visual elements and work them into my art through photography, drawing, painting, printmaking, and finally collage. Evolution is the center point of my process. I achieve this through intuitive and recurrent construction, deconstruction, and recombination of materials and imagery.
I am inspired and fascinated by the exterior and interior geometry of the organic â the concentric patterns of tree rings, and the cellular structure of a plant when observed under a microscope.
I like to experiment with printmaking processes using non-traditional surfaces, such as fabric, plastics and Plexiglas. This allows the work to become less calculated and more intuitive, giving serendipity and chance take a role in the end result. I fuse the traditional medium of printmaking with a contemporary approach that transforms two-dimensional monoprints into intricately layered three-dimensional multimedia works. These artworks, both monochromatic and brilliantly hued, juxtapose the seen with the unseen, the external with the internal, and the real with the imagined.
Working with sculpture and printmaking led me to the creation of two and three dimensional artworks, and installations, blurring the boundaries between them. Many of the artworks create eye deceiving forms, and optical movements, demonstrating changes in nature.
Fernandez, Sandra C.
I like the idea that stories told with images can communicate silently but not necessarily quietly.My current series of paintings depicts the character of both place and person. I regard the picture plane as a stage and those who occupy it characters with their paradoxical natures and predicaments.
The focus of my work is architecture and my primary medium is clay. I look at and photograph buildings everywhere I go. When I started working in clay, buildings started as boxes. Gradually lids became roofs, chimneys were added and things go on from there.
Adding images of architectural details evolved into putting images of buildings on my buildings. Learning to print on paper as well as clay has stretched my imagination.
I learned to make ceramic ink which can be used on the solar etching plates and laser copies of photos I have taken.The plates are printed both on clay and in monoprints on paper.
Using tangible forms as a point of departure, I playfully reinterpret their recognizable properties, disregarding their gravitational laws, to make newly biomorphic intermingling scenes. My work celebrates fluidity, and takes every opportunity to trifle with perception.
Not everyone wears their traumatic childhood experiences and some put it so far behind them that they build an entire new identity. Needless to say, there is always an impression left behind that makes us who we are. Whether or we choose to go against the odds, or create out repression they seem to always make their way to the surface. With twist on nostalgic characters I am able to communicate the feelings and memories of my life with a childlike perspective. Its so easy to get lost in the detail and captured by the unfinished and still find the clarity in the comforting recognizable bedtime cuddle characters. These are my impressions, the things that made me who I am today.
My work is informed by my interest in geology and an incessant yearning to understand the past. Adopting the role of the scientist, I analyze and question my personal experiences, recording my history and my memory as a tangible object of study. My practice is imbued with the process of scientific investigation, all while putting the results into an emotional context.
Through printmaking, I am able to layer plates and images, similar to the layering of my memories, leaving some things in focus while others become lost. I utilize map imagery and geologic symbols to explore the visual relationship between what I observe in my surroundings and how I assign meaning and emotion to it. My sculptural works both reveal and hide layers of history that I wish to study further â an unfortunate yet compelling effect of time upon memory.
The Pacific Gyre Map series deals with the issue of plastic debris accumulation in the ocean; pre- and post-consumer plastic waste breaks down into small pieces and is indefinitely trapped in swirling oceanic currents (gyres.) The plastic is consumed by marine animals who starve due to the indigestibility of plastic in their digestive tracts. Becoming aware of this environmental issue has caused me to pay closer attention to the amount of plastic that flows through my household and I started saving just one type of non-recyclable plastic: bottle caps. Our ever-increasing collection makes a pattern of consumption visible and tangible. Imagery in this series has developed from maps showing ocean currents that contain the trash gyres, plastic bottle caps, and fragments of an albatross skeleton. Albatrosses are especially vulnerable to plastic debris mistaken for food. Inspired by the albatross in Coleridgeâs Rime of the Ancient Mariner, their appearance throughout these works is intended as a cautionary reminder of our collective responsibility for, and seeming inability to solve this environmental tragedy. These mixed-media works utilizes ferrotype, a process of creating a chemical reaction on a large steel plate and then transferring a unique rust image onto fabric. Then stencils are used with graphite and conte crayon to layer repeated frottage images on top of the monotype.
I maintain an active studio practice making prints, drawings and installations that explore patterns of change in the contemporary landscape. To generate ideas I take field expeditions and study artifacts at natural history collections.
My most recent project, Traces, refers to the investigative nature of my working process and the means by which I translate source material to images. Using the visual languages of technical illustration and cartography, I mark changes in plant growth and the migration of invasive species. These schematic motifs describe complex structures and frameworks with precision and economy. By alternating between traditional, industrial, commercial and digital processes I create installation components and matrices for intaglio, relief and letterpress printing. This multi-technology approach allows me to transform diverse source materials into cohesive meditations on the natural environment.
Traces also alludes to the indelible mark on the landscape left in the wake of human activity. I allude to land erosion and the destruction of natural habitat through cross sections of trees and missing flora and fauna. I reference nineteenth-century expedition- ary photographs by incorporating tableaux and narrative elements from stories of early explorers. This evidence of physical change and events suggest the passage of time and shifting of cultural borders
Nelda is a visual artist who lives and works in Houston Texas. She creates in variety of media, including printmaking, painting, drawing, collage, sculpture and mixed-media installations. She is represented in Houston by Koelsch Gallery and in Dubai by XVA Gallery.
She studied art at University of Houston and the Glassell School of the Houston Museum of Fine Arts and later served on the board of the Houston Women's Caucus for Art. Gilliam is a member of Houston PrintMatters.
For 17 years she lived in the Middle East, first in Dammam, Saudi Arabia and then in Dubai, United Arab Emirates. Gilliam was the Director of Gallery 76 a the Dubai International Art Center. She relocated to Houston in 2011.
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 Iâm using these Villagers as a way to depict the intention and accountability of oneâs 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.
My work represents personal thoughts and narratives either through illustration or bold/aggressive gesture, sometimes both. Much of it is the combining of the lighthearted and grotesque, and fueled greatly by my own morbid sense of humor.
My first serious ambition was to be a writer. I've always loved words, both for how they look on the page and how they feel in your mouth and take shape in your brain. Some of my favorites: tumult, panache, gusto, and 'dokidoki' (japanese for a heart beating faster). Combine that with my stubborn insistence on anachronistic methods of creating, and, voila! I ended up a letterpress printer. I am new to the craft of letterpress but I am enjoying printing in a trial-and-error fashion with linoleum cuts and movable type. Brainstorming generally starts from a phrase with a particular personal meaning. From there I'm often drawn towards organic shapes and bright colors and patterns. With letterpress the devil is most certainly in the details. I'm still learning how to negotiate the limitations of my technical skills and the press, but I also want my artwork to reserve a place for the imperfect and the handmade in this increasingly mechanized and digitized world.
I strive for Magritte's basic intention, to make art with a "disturbing poetic effect." 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.
Why the Process is Part of the Message
The first stage of production begins with two pieces of industrial grade, recyclable vinyl. A design is applied to each piece of vinyl using inks and acrylic paint. The paints are applied using silk screens and brushes. Each piece of vinyl is then cut into strips, one piece cut horizontal and the other vertical. After the strips have been cut they are woven and stretched over a traditional canvas frame. In order to reach matured textures, strips of canvas are sparingly interwoven with the vinyl. The next step is to apply several coats of paint over the woven vinyl in a specific pattern and color. After the coats have completely dried the piece is ready for sanding. The process of sanding allows for a variety of textures and other elements to surface, such as the base images (which were applied to the vinyl before being cut into strips). Sanding has become the pinnacle of production, due to its order in the process and the effects achieved during the process. Once sanding is complete the piece is sealed and is prepared for viewing.
A major part of the message each piece conveys rests in the process. The initial pieces of vinyl are likened to an initial event or occurrence where some things are remembered while others are lost. The images, which were once easily seen on the two large pieces of vinyl, become obscured when stripped and woven
My work manifests itself in my fascination with illustrated literature and surrealism. I like to pair the whimsy of children's books with the strange, and sometimes, grotesque. Through narrative, I am able to create unique characters and illusory worlds.
Iâve collected coincidences for ten years. It started when I read two books in a row that both included the phrase âantique dental instrument.â While that was not the first coincidence I ever noticed in my reading, that singular instance convinced me to keep a record. I began to consider that the phrase might have been the profound masquerading as the mundane. Or not. But I wanted to collect the data. I cataloged my coincidences in composition books that filled rapidly. As it turned out, âantique dental instrumentâ has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as âstuffed mountain lionâ or âblack currant lozenge,â but the act of noticing them became the lens through which I filter the world and my experiences.
As an ardent reader, I naturally gravitate toward creating books and printing. And taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Thus, my observations take the form of hand-stitched texts that I call Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a dime store composition book, painstakingly recreating it by hand, I have found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painterâs
In my own art practice, I am constantly searching for fresh voices to reveal truths of the human condition and the troubling vanity and futility of living one's life selfishly, and entirely for the moment. I see my role as a visual artist to help define the ever-changing landscape of cultural conflict and contradictions within the human heart. I believe there is wisdom in living one's life in such a manner to leave this world a better place. To that end, I view teaching as another viable art form as well. My personal artistic mentors are: Lynwood Kreneck, Bill Weege, Warrington Colescott, and the late Dean Meeker.
I wasn't making work for a while. Now I am.
I am currently a senior studio art major at the University of Texas and mostly concentrate on print media. My artwork's subject matter mainly focuses on the process of decay and growth in nature. Rather than depicting the morbid break down of death I like to focus on the recycling of energy into new life forms. Many of my works depict the decay of these environments or life forms as a product of with human industrial influence. I often create images of not only growth from decay but nature triumphing over man made landscapes or objects. Even the small victories of nature such as a weed growing in between the cracks of a sidewalk spark my inspiration. Thought this is my main muse lately I still often go out of the box when a good idea for an image hits me.
No matter what my work's subject is I like to make my environments whimsical and full of vibrant colors. Because of my color use I enjoy serigraphy as a medium but often incorporate relief, intaglio or mixed media in my prints.
One of my main influences beside nature itself are abandoned architecture sites and as of recently the nuclear disaster Chernobyl. This many sound like morbid subject matter but after some research I was fascinated to find how many different species of animals and plants thrive in its abandon surroundings. Nature triumphs and flourishes despite man's mistakes.
Focusing primarily in printmaking for the last 10 years has given me an appreciation for the wondrous quality of not only the numerous printing papers which are available, but also the range of techniques that can be mixed to create printed images.
As a process-based artist, Iâm attentive to the physical aspects of art-making and respond to them as the work develops. Using materials from many sources which are printed and then collaged together, the âhandâ is evident as a record of the making and hopefully has an impact to be read within my work. I like to celebrate the act of making images that allow and draw the viewerâs âeyeâ into an inward realm of reflection, memory, and mystery.
My work celebrates the spirit of the people and places I have encountered. Whether this is represented through color, choice of line carved, etched, molded, drawn or painted through the conscious use of mark making via time honored traditions of printmaking techniques, I am interested in honoring the subject. So much is required in developing an image; it serves as a meditative device. The push and pull during the creation process is part intuitive, reactionary, and peace maker.
I find myself combining the past and present on a routine basis in my work. How may I provide the viewer with a snapshot that encapsulates people, place, time? How may I engage the visceral response of the audience? The stories I have been witness to, the beauty I have encountered and the decay of the previously celebrated: all find a home in my heart and art. My work has been described as"visual haiku.
JOHNSON, ANN 'SOLE SISTER'
Iâve been teaching over 16 years, and as Iâve watched the students transition from analog to digital Iâve noticed that more and more students are content with individual solitude and isolation as long as theyâre plugged in, to a digital world. Nesting explores an individualâs private space and thoughts. Are we as individuals nesting in our own worlds, letting the days pass us by, or are we caged and trapped in this game called life. Rather it be in song, meditation, or prayer, nesting examines oneâs personal moments of conceptual seclusion.
The works are to be suspended and the nests are embraced by natural gravity and movement.
Iâm drawn to the assumptions in life that are filled with irony and metaphor, and the playful part of my brain attempts to make sense of it all in images. Printmaking is a slow process that allows me to gradually orchestrate the visual and conceptual layers in my prints to serve as both oblique and overt social commentary.
Despite maximum effort and a critical engagement with materials and ideas, making pictures that resonate remains an elusive thing.
Nets have appeared in my work as far back as 2007. At that time I used nets to symbolize the difference in the deaths of my parents. My Dad continued to be a non-believer and fought death while my Mother embraced faith in her final years and gave herself peacefully to death. Beginning this year, I decided to concentrate my work on the net and create a narrative for my life. I am now intrigued by its duality: it can cradle and comfort and in a moment entrap and ensnare. It is the perfect subject to tie together my past and future bodies of work.
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.
What explanation or rationale do we give for acting the way we do? What do we tell ourselves, versus what we tell others? Whether worn blindly or intentionally, I believe this is a mask we wear everyday. There's no intended judgement; only my observation and interpretation. I am rarely depicting a specific person in my work, and text is purposely juxtaposed, but often out of context. Recombined, and interpreted by the viewer, these devices reveal open-ended themes of ignorance, contradiction and cynicism. These themes are my true subjects.
Many of us spent our childhood attracted to all sorts of tacky, glittery things. An afternoon at the Fair was a taste of heaven, chock-full of farm animals, rollercoasters, and shiny, plastic prizes. We begged for cotton candy and snow cones, as excited by the goodiesâ playful presentation as the sugary taste. As we grew into adulthood we grew out of these desires, perhaps even seeing them as vulgar. Yet, we still maintain a sense of nostalgia for these childish fancies.
To some degree, this shift in taste is a learned one. We donât recognize these objects and moments as tacky until we are taught that they are. In turn, we are not culpable for our poor taste until we learn it is just that. My work is a means for me to return to the time before this education, exploring the ideas, images, and desires weâve since dismissed as infantile.
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.
Lechtman , Ariela
The power of simplicity lies within unspoken words. Nature is the universe in its simplest, most rudimentary form. My lines are mere suggestions of the tangible and the intangible.
Melanie is an experimental media artist and printmaker with an affinity for color and texture. Her work embodies the historically iconic and metaphorically rich and expressive imagery of the horse. Her focus is not necessarily upon the physical aspect of individual breeds, but upon the unique and universal attributes of legendary equus and its dialog with the human spirit.
Current culture deems indecision and confusion as negative notions, embracing the assertive, immediate, and understood. My work intends to subvert that thinking, arguing the essential place for the unformed and obscure, presenting unnamable, elusive, and unobtrusive visuals.
In order to achieve both an indefinite and understated visual and mental state for my viewer, I present work that encompasses suspended or opposing states. The artwork hovers between paradoxes (form and space, dissolve and formation, density and void, focal point and dispersion, accident and intention) preventing the viewer from conclusion. Furthermore, by using printmaking and the incorporation of surface, the pieces question whether they are found surface or art, seemingly to exist in an ever-shifting space between the two. This intermediary and inconclusive space is coupled with restrained aesthetic that urges the viewer to adjust their mode of attention, like leaning in to hear a whisper or squinting to see in a dark room.
Ultimately my art attempts to recalibrate and resensitize our practiced eyes that search for purposeful and readable sights, overlooking the stained concrete walls while scanning the next five billboards. There is profound character and beauty in what sits quietly without intended meaning and I aim to emulate that vitality through a composition of marks and printed surface.
I am an artist for the same reason so many others are -- because art is the only method I know of communicating with the world around me. "Shy girl" as a child, "reserved" as a teen, social anxiety as I grew older, my art is my interpreter; it speaks for me when I cannot. And honestly, it speaks better than I ever could articulate verbally. In my prints, my paintings, my sculptures, I am without fear and anxiety; I have no desire to be quiet. For this reason, every piece, every assignment becomes my podium from which I can scream out everything I keep inside.
I make art to encapsulate memories and emotions, many of which center on a physical place. Some people attach themselves to people or material objects. I attach myself to places: cities, buildings, my home, the houses of my friends and family, the movie theatre I worked in high school in a fancy hotel, the list goes on and on. When I'm feeling nostalgic or homesick or lonely, what I'm really missing is how these places make me feel. Of course, these places come with people, material objects, and specific memorable days, but the "vibe" I get from these memories comes from the place itself. For that reason, much of my artwork focuses on communicating my connection to a certain place. St. Louis, MO; Oakland, CA; Wyoming; Austin, TX. I know the list will only continue to grow as I do.
Madeley- Dunn, Jennifer
I make art of emotion and a personal mythology. At the same time allowing the piec to emerge on its
own. Letting go of a graphic idea of what a particular piece is suppose to be and allow the mark makings of my tools emerge. I end up with biomorphic images of something real and I fell this is worth exploring.
When I look at my work I remember my making of it. The process of cutting on wood allows for the meditation
and dictation of feelings, stories, and ideas. Words require a beginning and end -- structure and logic. Art remains open to
mystery and contradictions.
The human body provides inspiration for most of my work. It is beautiful -- in the image of God. But, we also find it
grotesque -- blood, guts, fluids, etc. Itâs inner-workings -- giving us nothing-less than life -- are extraordinary, but itâs
failure creates great pain and fear.
Our bodies hold a physical history as individuals -- with scars, aches, appearances, movement. A vessel for our
selves. The landscape also provides inspiration -- the innumerable colors and their juxtaposition.
In 2005 a 130 year-old southern red oak tree died on my property in the Houston Heights. In February of the same year my mother died. At that time I made images of the oak tree which were iconic references to my emotional response to her death. More recently the poignant loss of so many trees in Houston, due to catastrophic climate conditions, has contributed to continued use of tree imagery in my work.
The each piece focuses on single elements or combinations of bits and fragments to create individualized imagery, filtered through my physical and psychological perceptions while meditating on the fragile, yet enduring nature of life.
The narrative in my work is about attempts to re-establish connection with people, situations, beliefs and roots long lost or suddenly interrupted. It is a quest to revisit unresolved encounters, reach previously missed understandings or simply express emotions without the use of words.
My works are similar to entries in a personal journal, where instead of words emotions and thoughts are expressed through colors, shapes, gestural markings, folds; by superimposing ancient and modern printmaking methods I sculpt, collage, handle paper and turn it into a kosmos where all I need, all I feel, all I want to revisit, re-examine, even forget find a place to be expressed.
My primary mediums are drawing and printmaking. Monotype methods afford me the pleasure of not only drawing, but also the spontaneity of image-making that I enjoy. When I am printing, the process defines my steps - one thing flows into another as I manipulate the ink and make runs through the press. The laying down of ink and then printing or drawing directly on the plate is something that never gets old for me. My work can be compilations of prints that have been cut and re-assembled to become part of something new. Often they are created by drawing directly onto paper placed on an inked plate.
I compare the collage aspect of my work to the push/pull of the painter's brush across a canvas by introducing, removing and re-introducing elements as the work progresses. Printed textures and found objects serve to unify the surface.
My inspiration is rooted in images I find in old family photographs. I use what is often an unknown story and insert a story of my own.
Wood Cuts are the first art form that has truly grabbed my spirit. i am constantly carving into block of plywood. my students always ask me if i ever get tired or bored with it. i simply respond to them, "Once you find something you're passionate about, you keep doing it...all the time."
Life is lived through a series of events, which make up the mundane of the everyday, and these events are perceived and highly influenced by ephemeral perceptions. These perceptions can then relate us back to a larger more permanent idea of the memory. Memories of our past seep through, whether we are conscious of it or not, it is impossible to escape. Memories can be triggered by the simplest of things, especially objects. Certain objects hold and obtain the presence of a past situation or the presence of a person, which remind us of those people or things in that moment.
Within my current body of work I use both two-dimensional and three- dimensional exploration of the idea of memory and personal perception. It also obtains the ideas of strength vs. fragility within those ephemeral perceptions, which is obtained through the use of material. Material and process are at the fore front of the exploration. By using materials such as string, fabric, concrete, wood, and hog intestine. I explore the world of the external and the internal through those materials by questioning which is holding the other together. In many cases the fragile materials are put in place to hold those objects of strength together, creating a contradiction in what the viewer is expecting to perceive, and what is actually occurring. Memory is very much the same in existence. What we perceive is just a prec
Memory, location and nature, the inspirations
Texture and pattern, the fascination
Printmaking, the adventure.
In my current work I am attempting to build on the tradition of printmaking as social commentary by elevating issues such as gluttony, status and abundance beyond the reach of hype and buzzwords.
I am a multi-media artist. I am a printmaker at heart, but I dabble in a bit of everything.
"An artist can show things that other people are terrified of expressing." Louise Bourgeois, Destruction of the Father / Reconstruction of the Father: Writings and Interviews, 1923997
Jess is an Austin screen printer and designer working as Hotline Ink. She creates and prints her work at a shared studio space called ASPCO (Artist Screen Printing Co-op). Her designs primarily depict animals, well mostly cats, involved in some way with the human condition. These playful interpretations are carefully printed on modern fitted apparel, totes and paper goods.
The dance of the brush, the roll of the brayer, the work in progress; soul satisfying!
My work primarily deals with up close, oversized, depictions of scenes of internal horror or intense emotion. I strive for a visual convergence of "long burn" detail and immediacy of emotion. When I create art I sometimes like to reward the viewers who stick around with hidden images.
I draw inspiration from the Outlaw Printmakers, Kathe Kollwitz, poster graffiti, games of "I Spy", and both American and Japanese horror comics.
In our crowded fast-paced world, contemplation, conversation, solitude, and deep thinking are being lost. I try to remind us of the beauty of these attributes through my art, and provide viewers an opportunity to slow down, and contemplate.
âThe Process of Getting to Know Youâ is a body of work that began in 2005 and explores aspects of humanity via non-traditional portraiture, while simultaneously commenting on the method relationships between various forms of print media.
The genesis of The Process was hand-cutting hundreds of stencils depicting personally impactful individuals. Facial features are reduced by paper and blade to their essential shapes. Because the stencil is the most basic matrix, it is the foundation for works that highlight all of the major printmaking processes including: relief, intaglio, lithography and serigraphy, with expansion into new visual territories.
For example, stenciled faces are carved in relief from wood panels to diminish personage and signify characteristics of collective humanity. Stencil-based paintings on hand-sewn pillows glorify the individual, and a series of mezzotints depict the âreceiptsâ or remains of the stencil cutting process itself. The Rorschach-style, mirrored images resembling totemic visages are reminiscent of mythic histories or deities. The freedom to rearrange and recycle motifs further demonstrates how concept meshes with medium and matrix.
These totems have recently been re-cut as stencils using laser plotting technology. In this series the matrix is also the multiple, commenting on the infinite possibilities of reproduction.
My work is about the line, a brushstroke, the way colors interact; I make it because of the real and emotional reactions these formal elements evoke in me, and my purpose is to try and convey this sense to the viewer. My subject matter ranges from nature and mundane artificial objects to people, in my interpretations of these I want to give a sense of the chaos which I take advantage of in making each image. This process is composed of working and reworking each piece adding layer upon layer, until the final image crystallizes.
Emblems of dissent
Rousing new forms of resistance
Rejecting submission to mainstream belief
Referencing societal agreements
Revising the paradigm
Considering the nature & context of truth
Constructing an argument for involvement
Questioning motivations & intentions
Commenting on the state of affairs
Scouting language for this moment
Searching for equilibrium
Selecting the idiosyncratic
Salivating over the funky
The way I work is based mainly on my own personal observation of time and what it means to spend time. I was originally inspired by being a waitress, running back and forth in the same small area hundreds of times a day, stepping in the same spots, touching the same things. So I started thinking about how most of our lives are spend doing the same things over again and again, the only organism on earth that seems to be aware of its own existence spends most of it doing the same thing over and over again. Patterns begin to form in our lives and we remember certain things but much of what we experience is forgotten because we are on auto pilot. This idea is what interests me, so I create these pieces that either are extremely time consuming and mundane or give the perception of taking a lot of time. I think I do this in an effort to help the viewer examine their own lives and think about the ways in which we spend our time.
A small girls effort to show a world that she lives in simultaneously with this one. Her translations of a world that she roams freely in have been transcribed onto paper.
My etchings explore the expressions of the various roles that women portray. The mystery, the glamour and the spirit of the female consciousness. Symbols of patience, nurturer and healer celebrating the mystical nature of the feminine spirit.
Most of my art career, I have spent painting. I was introduced to the printing process at Flatbed Press in Austin, Texas. I was taken in by the simplicity of the lines and the clarity of the images. I fell in love with the process or what I call the ritual. The dance between the artist, the copper plate and the flatbed press.
Most of my Etchings are created on recycled copper. Some pieces have scratches and impurities before I start but this just adds a uniqueness of working with recycled materials.
Growing up in the desert of New Mexico, I thought everyone was an artist. I was always exposed to local art and artists that came to New Mexico to study. Art is the vehicle I use to express the images that spring from my dreams and meditation, creating strength and health which can be drawn upon to bring greater happiness and contentment to our lives. Through my art, I am constantly trying to tap those hidden resources and communicate to the viewer of my work some of those feelings of joy and expansion.
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.
Nostaliga, traumatic events, and self-acceptance are sources I always dabble with in my art. My intention is to create art work that people can reflect on and relate to; to either have flashbacks of memories that were good, to acknowledge themselves, or to show that the artist shows empathy towards someone that the artist doesn't know. I am interested in creating a relationship between the viewer and my art work. To gain this relationship means that at least a value was gained by something I created. I let my artwork have a variety of elements for the eye to wander, for the mind to question.
In a visual response to Stephen King's 'The Dark Tower Series', I am redefining the symbolism of language and literature into a visual catalogue of geometry and chromatic reactions. We associate shapes and colors to prescribed meanings and feelings we have picked up through our socialization into a culture. Using this unspoken communication these etchings are a reflection of my experience with the written language.
The prints are minimal in form and composition; geometric shapes intersecting and reacting with each other. Through the use of color optics and isometric perspective the works are a weightless gesture. The etched shapes carry a mystifying quality and are repeated within a single image. Gathering them into a lexicon of familiarity with a note of color or change in perspective influences how a work is perceived. This arrangement and reoccurrence presents the work not as illustration but as monuments or symbols. Symbols used as touchstones referring to the textâs characters and concepts.
I am interested in how we understand the world around us and what affects the ways we perceive, process, and think about it. We constantly experience a wide range of data streaming from our surroundingsÂÂ: from objects on a desk to reflections in windows, from the text in a book to mass media. We see, hear, and otherwise encounter so much and it is all mitigated by everything from the language we speak to digital technology. I do not think that I can say that my work is about any one thing in particular, rather, it is an intersection of many things that allow for and affect how we comprehend our environment. From physical modes of perception and memory to culture and human geography, I am interested in how we come to form the link between the external, physical world and our internal, mental conception of it.
Ricardo's work creates a dialogue between his own personal experiences within contemporary society and those of primitive cultures, meshing the two together to present human nature within a barren reality . Influence are drawn from Expressionism, African sculptures, slang, and Flemish paintings.
My work deals with life cycles present in nature. By recycling objects that I have collected, their physical replacements are captured in a state of longing. Material manipulation reveals the potential for one thing to become another. Constant change is occurring in nature through movement, exemplified in water, blood, weather patterns, or the crystallized flow in marble, muscle, bone, or wood grain. Lattice-like forms are excavated from their paper matrices using a scalpel. Each incision is a record of a hand-to-tool meditative process. The installations and flat works are expressions of movement in its many manifestations, spilling forth ciphers of thought and reflection.
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.
My work is connected to strange dreams I had growing up as a deaf person.
Our human urge to control our lives, to avoid chaos, often leads us to a lifeless journey. Sometimes trying too hard just doesn't work and this is often the case with creating art. In my work I try to let things happen due to the nature of natural forces and randomness. I use basic elementary shapes, and find that letting go of some control breathes life into these images.
I often use the symbolic image of a home in my work. By being an immigrant without even deciding to be one, the home symbol has a meaningful relevance in my life. I often ask myself where is my home?
Although the location and actual structure of our house does affect our sense of feeling at home, it is not the whole story. The concept of "Home" is really a wider reflection of our emotional sense of peace and comfort. Finding shelter in an unstable world is an ongoing journey like the process of finding the home in a labyrinth structure that is falling apart yet still carries hints of the path to a home that we are all longing for.
The main content of my woodblock prints makes a social commentary by utilizing traditional woodcut techniques combined with current images from popular culture. By means of an alter-ego figure based upon a graphic comic book style that I have developed since childhood, I explore my place within the chaotic scenarios that often occur in todayâs society. Through my work I will investigate my own self-identity and what my place is within that world through a working process of printmaking
I am influenced by the whole of the arts world; from creative writing and music, to dance, theatre, and, of course the visual arts. In much of my work I explore the issues of human identity, with a special focus on womenâs issues. I endeavor to highlight the conflict between our public or social role and our private or internal identity. I am especially driven to produce socially conscious works that seek to inform, educate, and increase awareness of these contradictions. Often times I present these themes out of context, by coupling them with vintage icons or whimsical vibrant images to engage the viewer to more fully examine the entirety of the piece before discerning itâs true meaning. The content is presented subtly in some works and more overtly in others. I strive to convey the struggle women face in navigating the line between the external persona and the inner character. â¨â¨I work in a variety of materials and processes to convey my ideas. Kiln Formed Glass, Metal Work, and Photo-Exposure Printmaking engage my life-long fascination with physics and chemistry. Although each medium is inherently different, each one allows me to practice its age old processes and integrate them with the most modern, innovate techniques. This allows me the opportunity to challenge myself, and the viewer.
i always prefer to make prints.
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.
It is with a deep passion that I continue to explore what today would be called the ancient art of fine printing. In this day of scanners, copiers and over used photographic images I am drawn to the the old world techniques for the purity of the image, the indulgence in the materials, the act of hand carving wood or metal, the sound of the ink during the preparation & application to the plate, and the feel of the paper in my hands while I register and pull each print. I choose to create images using tools that require a sure hand allowing each mark to stand alone and yet they come together to create a clear and bold image.
I view my body of work as a self-portrait in progress. My works primarily are a response to my emotions from my experiences as a native Asian encountering cultural difference in the Western world.
I often arrive at the studio without preconceived ideas and over time, have learned to trust the artistic process and my instinct. I want to portray the energies, feelings and emotions inside me through the use and combination of elements of line, shape and texture in my works. The imagery I create often shows the influence of my surroundings, mostly from people, objects, and memories. Each piece serves as a record of my inner feelings and my interactions with American culture.
Recently I have been interested in making books and the art of bookbinding. My works employ stitching, compulsive layers of shapes, patterns and varied textural surfaces to reveal my complex personality. Artist books give me an opportunity to express thoughts that might not emerge in direct conversation. It is a one-on-one, intimate experience where the viewer guides the discussion by choosing where to start, when to turn the page, how long to pause and when to return. I want the viewer to see and understand my viewpoint through his or her âconversationâ with the book.
My artwork is somewhat regional in nature and has a lot to do with where I am living at the time. I previously lived and worked in the bay area in California where my work dealt with consumerism and when I lived in the Research Triangle in North Carolina my work dealt primarily with my identity. Today, I am living in the Rio Grande Valley in Deep South Texas on the US/Mexican border a place I have called home for the past 9 years.
My surroundings influence my work greatly; there are daily reminders of ongoing drug and immigration violence. Not a single day goes by without a drug, cash or gun shipment, large or small is seized in my locality. Regularly Immigrants are caught trying to illegally enter the country. In addition there are stories of Mexican Nationals and foreigners being kidnapped held for ransoming or sold into the illegal sex trade. Recently I have been making work that addresses what disturbs me. And that is the glamorization of illegal prostitution and the drug trade.
My work explores the thought of my Hispanic heritage through reviving or almost reliving personal encounters with nature on Mexican soil. Bright natural greens and soft rich blues lay side by side across the surface of the paper. Hues layered over each other as the clouds layer over the sky and over the panoramic picture of the luscious land. Each of my prints represents a place I've visited personally and explored during my many visits to different parts of Mexico. Through the use of image repetition, line, pattern, and vibrant color, each artwork is a tribute to the beauty of the land, its rich culture, and its passionate people. These works are also an abstract representation of myself and the Hispanic culture I experienced growing up.
Varner, Victoria Star
The "Crossed Paths" series are prints made by means of American western trick roping, using a rope coated with charcoal, spun in a loop, and skimmed across ten small copper plates laid on the floor in a circle. The plates are later engraved in the same pattern as the dust residue made through the act of roping. The prints made from the engraved plates record a physical action or event, which in semiotic terms are âindexicalâ images, like photographs of footprints in the sand, because they show causation and require knowledge of context; in this way, the roping prints are indexical and might be seen as cultural evidence. Because the engravings are related to cowboy and cowgirl identity, they tangentially address American national identity and how cultures construct their own notions of authenticity.
Having been part of the world of American rodeos from childhood through early adulthood, I realize in retrospect that I lived that life at the end of an era of the romanticized American west as valorized by Hollywood. I hope to document it through these prints as I explore what makes the cowboy/cowgirl image so enduring in the imaginations of cultures worldwide.
I am interested in studying the residual quality of the past and how elements of history linger and define places. I attempt to create images that vacillate between the distant past and the current moment. I enjoy finding things that have been discarded or forgotten and constructing them into something meaningful. Most of the places that I choose have a connection to history and human achievement or downfall. The effects that people have on specific places endow each one with an inherent individual identity. I seek to explore and examine the endless layers of interactions between individuals and their environments.
I practice both painting and monoprint. Playing with the dualities and complementarities of these techniques stimulates my research and my freedom.Â
When I print, I like to show what is not immediately revealed to the eyes of the viewer: the grooves of the LP, the design of a flat aluminum can, the esthetic of a music paper or the texture of lace. By superposing layers of ink, cutting, folding and gluing, I show my decision making, my mistakes, my progress and how I grow. I often present my work as a diptych, triptych or even larger composition. The dialogue between the pieces becomes an invitation for the viewer to enter into my intimate journey.
I create works that carry a badge of liberty, but the formality of the presentation is always an omnipresent constraint. Â It would seem I cannot escape this sense of linear structure and discipline in the final composition of my works. My subject matters range widely, however I am naturally attracted to my environment and embrace the lesser subjects of society: trash, discarded objects and people, the forgotten or the ones considered a mere obstacle in a perfect landscape. More deeply, I want to reflect the inner beauty of our daily life.Â
It is unlikely I have invented anything new, but I learn by doing and the path I follow drives me more than arriving at a destination.
I value art for its non-utility. My purpose in making art is to create work that exemplifies this quality while expressing my personal understanding of beauty.
I mostly work in relief and intaglio working either at home or at Slugfest Printmaking Workshop in Austin Texas. I was raised in Houston Texas and Rhode Island. I received a BFA in Printmaking from The University of the Arts in Philadelphia in 1991. Most of my post college time has been spent pursuing a music "career" but in the past 8 or so years have returned to printmaking and the visual arts. Since then I have participated in local(Austin) group shows as well as a one man show in Rhode Island in 2007.
I have been a Printmaker for many years, concentrating on Collagraphs and Relief printmaking primarily, and have taught Printmaking for over 27 years at Austin Community College. While teaching Printmaking is challenging and highly rewarding I found the same types of challenges and rewards in working with Collagraphs. What I have submitted runs the gamut from very basic (traditional Collagraph) to a method I invented in the early 1970's that prints as an image that resembles the Mezzotint.
Ward, Barbara Payne
I make work in response to my curiosity, reactions and experiences about our natural world and our human interactions, relationships, and connections. Layering and commingling realistic with abstracted images, words, and text, I make visuals of my ideas and observations. You will find my drawings, paintings, photographs, and hand-made objects intermingled within each lithograph, intaglio, serigraph, monotype, digital/pigment and mixed-media works.
My body of work is archived as part of the Artist Printmaker Research Collection at The Museum of Art at Texas Tech University, Lubbock, Texas. Since 2006, I have exhibited throughout the United States in 18 states in solo and group exhibitions and in national/international juried and invitational exhibitions. My work is part of permanent and private collections in the United States, Australia, and Malaysia. My studio, Bois Arc Press, #65, is at 3701 Plains Blvd, Amarillo, TX.
My love affair with fiber began many years ago when I learned to sew. I have always been interested in working with my hands and creating things. Over time, this interest has led me to explore hand weaving and hand spinning as well as dyeing and various forms of surface design. In the past, I have focused primarily on wearable, functional items.
My most recent work has taken me in a new direction. After many years of using yarn to create fabric, I learned to make a new type of fabric using unspun silk fiber. This versatile material can be cut and sewn like traditional cloth or sculpted into three-dimensional forms. Working with silk paper has given me unlimited opportunity to try out new ideas.
This Way Up is a relief print on silk paper with conte crayon and embroidered embellishments.
Residing in Houston, Texas, I was born in Andravida, Greece and moved to Detroit, Michigan when I was a young girl. I am fascinated with architecture and ruins from ancient civilizations and incorporates them into my work. I use lights, darks and layers of translucent color to symbolize the inner workings of the soul. I have a Masters in Fine Arts. My work was exhibited at the William Patterson University Ben Shahn in New Jersey, juried by Anne Coffin. My painting sold and was given the Honorable Mention Award.
Globalization has seemingly brought the world closer together, resulting in a heightened, yet elusive, sense of the familiar. This vague feeling of familiarity is the starting point by which I question cultural perception and memory. In my work, childhood memories of the standardized houses and buildings that sprung up in South Korea in the 1970s are made ironic by hollow play of silhouetted buildings. They resonate an architecture residing in my memory, not the existing one. Yet the memory of this Korean dwelling form originated in my perception of similar, standardized residential housing in the United States (which also exists in Lubbock, Texas), questioning whether my memories of an ideal home were ever uniquely âKorean.â I mix historical buildings from 1970s and playground equipment to connect my childhood memory and political construct. The installation creates optical illusions through distortions of the original sources.
1/18/2014 - 2/15/2014
Big Medium Gallery at Canopy, Austin, TX
Chair: Eleanor Droll
The deadline for this event (11/9/2013) has passed.