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.
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
â€śIt is not the slumber of reason that engenders monsters, but vigilant and insomniac rationalityâ€ť
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, artistâ€™s 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 â€śotherâ€ť. My work poses inferences and possibilities about this
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.
My work is absent of the Sky but embraces the Sea. There is terrain that is barren but mighty; oh the forks in the road.
I am a local musician and printmaker in Austin. All of my block prints are carved by hand into linoleum blocks and then printed either by hand or by using a very old letterpress.
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.
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.
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 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.
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 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.
As an art therapist, I am constantly in touch with the art of healing. Because I believe in the power of art to
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.
Memory, location and nature, the inspirations
Texture and pattern, the fascination
Printmaking, the adventure.
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.
I love the process of screen printing - from preparing an image, to mixing inks, to watching my design come to life one color at a time. I've begun screen printing one photo from every place I travel using a 4 color process. Hope you like it!
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.
Big Medium Gallery at Canopy
Chair: carol noble
Co-Chair: Cathy Savage
The deadline for this event (1/16/2014) has passed.