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 respond to both my physical location and the environment of ideas. Expressing contrasts, making comparisons and weaving dichotomies into the meanings of images. I combine traditional and non-traditional techniques, hand-coloring, collage and chine colle.
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
My art is developed from a narrative fragmenting of images. My childhood was rich with colorful characters, steel magnolias and a confluence of mixed messages. The consequence of this is a creative ability to find humor in most things. My aesthetics reflect these poetic dichotomies: beauty with calculation, the bitter with the sweet, the humorous with the serious; the literary with the familiar; clandestine moments with collected observations. I enjoy the play of metamorphic connections with the subconscious and senses. Sexual entendre and duality of meanings are explored with symbolic and psychological innuendo. Images are juxtaposed, altered, and accessoried with a tongue-in-cheek attitude to form the focus of my work.
MY WORK IS AN ONGOING AUTOBIOGRAPHY. DREAMS, LEGENDS OF MEXICO AND PERSONAL FANTASIES ARE THE PRINCIPAL SOURCES FOR MY IMAGERY. HOLDING NOSTALGIC IDEAS ABOUT MY PAST. I TRY TO EXPERIENCE THINGS AGAIN THROUGH THE ILLUSIONS I CREATE. I TRY TO TELL A STORY TO ANYBODY WHO WOULD LIKE TO SEE IT.
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 Dad died in 2006 after much suffering. Right after I returned to Houston, a blue jay flew into my kitchen window. The impact broke his neck. A few weeks later, not really knowing where I was going with my art, I looked in the flower bed and found his skull and began sketching. As I was trimming some bushes another day, I found his wing--a bone with the feathers still attached. More sketching. More studying. More searching.
My Dad asked me right before he died, "What is going to happen? Is there something else?" I could not answer his question. But I have found my own answer.
I am content in my belief that each day gives us quite enough, if we take the time to look. In the end it is all of life's detritus littering my landscapes--physical and personal--that bring meaning to my life, and my work.
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.
Anna Marie Pavlik 417 Wapping St. Frankfort, Kentucky 40601
email@example.com 512-517-5233 resume page 1 of 2
KENTUCKY STATE FAIR, First Prize Printmaking (2017)
KENTUCKY STATE FAIR, First Prize Printmaking (2016)
KENTUCKY STATE FAIR, Best of Show Fine Arts & Craft, Purchase Award (2015)
KENTUCKY STATE FAIR, First Prize Printmaking (2014)
KENTUCKY STATE FAIR, First Prize Printmaking (2013)
FLORAL FUSSION, Best Two Dimensional Art Award (2012)
KENTUCKY STATE FAIR, Best in Show Fine Arts & Craft, Purchase Award (2011)
2018 KENTUCKY WILDLANDS, Revelry Boutique Gallery, Louisville, Kentucky (KNLT group)
2018 RANDOM OBJECTS, Dougherty Art Center, Austin Texas (group)
2017 ETCHED THOUGHTS, Evansville Museum, Evansville, Indian (solo)
2017 225: ARTISTS CELEBRATE KENTUCKY’S HISTORY, Kentucky Artisan Center at Berea
2017 PORCELAIN, GLASS, & ETCHING, River Gallery, Chattanooga, Tennessee (3 person)
2016 WANDERLUST, Craft(s) Gallery, Louisville, Kentucky (solo)
2016 AT THE RIVER’S BEND, Evansville Museum, Evansville, Indiana (juried)
2016 WATER: WE ALL LIVE DOWNSTREAM, Ripple River Gallery, Aiken, Minnesota (Invitational)
2016 GREAT IMPRESSIONS: PRINTS BY KENTUCKY ARTISANS, Kentucky Artisan Center at Berea
2015 FLORAL FUSION, Scott County Cultural Center, Georgetown, Kentucky
2015 POINT OF VIEW, River Gallery, Chattanooga, Tennessee (Two person)
2014 SECRETS OF PRINTMAKING, Northern Prints Gallery, Duluth, Minnesota (invitational)
2014 ART FOR EARTH DAY, NEW HORIZONS, Waters of Superior, Duluth, Minnesota (group)
2014 HOT, BRIGHT, & BOLD, Completely Kentucky, Frankfort, Kentucky (solo)
2013 SELECTIONS, Gallery Hop featured Artist, Kentucky Museum of Art & Craft, Louisville, Kentucky
2013 ETCHINGS, Ripple River Gallery, Aitken, Minnesota (solo)
2012 FULL SPECTRUM, Philadelphia Museum of Art, Philadelphia, Pennsylvania (curated)
2012 EARTHDAY, Northern Prints Gallery, Duluth, Minnesota (invitational)
PUBLIC COLLECTIONS GALLERY AFFILIATIONS
Amity Art Foundation, Inc, Woodbridge, CT Bluff Country Artist Gallery, Spring Grove, MN
Bickerstaff, Heath, Smiley, et al, Austin, TX Cedar Rapids Museum of Art- shop, Iowa
Brown Manufacturing Company, Austin, TX Completely Kentucky, Frankfort, KY
Dain Bosworth, Minneapolis, Minnesota Craft(s), Louisville, KY
Hallmark Corporation, Kansas
Kentucky State Fair, Kentucky Artist Collection Grand Hand Gallery, St. Paul, MN
Mexic-Arte Museum, Austin, Texas Kentucky Artisan Center at Berea, Berea, KY
Minnesota, Mining & Manufacturing, St Paul, MN Minnesota Center for Book Arts, Minneapolis, MN
Philadelphia Museum of Art, Philadelphia, PA Northern Prints Gallery, Duluth, MN
Post Properties Collection, Dallas, Texas Ripple River Gallery, Aitkin, MN
Regents Hospital, Wayzata, Minnesota River Gallery, Chattanooga, TN
Sower Foundation, Kansas City, Missouri Waters of Superior, Duluth, MN
Springfield Museum of Art, Springfield, Missouri
Sprint Corporation, Overland Park, Kansas
Tweed Museum of Art, Duluth, Minnesota
University of Minnesota, Minneapolis, MN
University of South Dakota, Vermilion, SD
Anna Marie Pavlik 417 Wapping St. Frankfort, Kentucky 40601
firstname.lastname@example.org 512 517-5233 resume page 2 of 2
Growing concern for the survival of natural areas and the need I perceive in people to understand their relationship to the environment have encouraged me to work with nature related themes. My images are focused on revealing and presenting how nature has functioned. I extract the concepts which I visually explore, from my observations of natural sites, science publications, and maps. By creating these works I hope to direct the viewer’s attention to the irreplaceable value, sublime beauty, and mystery found within our natural environment.
2017 Soft Foam Printing Workshop, Evansville Museum, Evansville, Indiana
2016 Energy Choices & Printing, Josephine Sculpture Garden Arts Festival, Frank fort, Kentucky
2014 Soft Foam Printing Workshop, Porcupine Mountain State Park, Michigan
2014 Soft Foam Printing, Quetico Provincial Park, Dawson Campground, Ontario, Canada
2013 Soft Foam Printing & Mural Project, Josephine Sculpture Garden Arts Festival, Frank fort, Kentucky
2013 Pasta Machine Printing, Ripple River Gallery, Aitkin, MN
2012 Artist in Residence, Petrified Forest National Park, Relief Printing Workshop, Arizona
2012 Art in the Garden, Etching presentation, Liberty Hall Frankfort, Kentucky
2011 Soft Foam Printing Workshop, Josephine Sculpture Garden Arts Festival, Frank fort, Kentucky
2011 Artist in Residence, Catoctin Mountain Park, Presentation and Workshop, Maryland
PUBLICATIONS (contributing artist)
2014 Historic House and Tree Tour, Tree Coalition Publication
2013 Tree Tour, Tree Coalition Publication
2008 Trail Guide to the Northland Experience in Prints and Poetry, Calyx Press
2006 Response, Calyx Press, Lake Superior Writers & Northern Printmakers Alliance
2005 Dust & Fire, Bemidji State University Publications, Maureen Gibbon
Bachelor of Arts, Studio Art 1974; University of Minnesota, Duluth
Drafting Certificate 1976, St Paul Vocational School, St Paul, Minnesota
Bachelor of Science, Mechanical Engineering 1978; ICS Pennsylvania
I was born in Pittsburg, Pennsylvania and after moving multiple times my parents chose Minnesota where I lived until relocating to Austin, Texas. I now reside in Frankfort, Kentucky. My college years were concentrated in Duluth attending St. Scholastica, the University of Minnesota, and the University of Wisconsin, Superior. This was followed by a Drafting Certificate from St. Paul Vocational School leading to a B.S. in Mechanical Engineering during employment with Minnesota, Mining & Manufacturing. My work at 3M was focused on Product Development. I hold one patent for a wire holding devise. The need for a greater involvement with art resulted in a membership at Flatbed Press, a print publishing studio in Austin, Texas. Participation in the Serie Project at Coronado Studio and work at Slugfest Printmaking Workshop evolved into setting up my own studio. Focus on the intaglio process and stratograph, a monoprint technique have resulted in several bodies of work. "Personal Poems” is a series of small biographical etchings dealing with issues of adulthood. "Ideal Mechanical Advantage” presents the transition from the factual world of engineering to sensory perception. "Global Fables” is a collection of pieces that study of the tradition of a short story with a moral from diverse cultures. I am now focused on work which involves the perilous future of the natural world. The common factor in each of these series is the narrative thread which each piece presents.
I enjoy creating art from life. I feel that we are the sum of our experiences and that each moment is an opportunity to become something more. I think we should cherish the mundane, the every day, and the daily routines as they are the root of our personality, the fundamental base of who we are, and which contain the most comfortable moments of our lives.
Aside from subject matter I like to blur the border of media. I felt I had reached a peak in my drypoint line drawings. I have always been drawn to charcoal; the softness of the tone; the fragility of the medium. At any moment the marks could be blown or rubbed off the paper. I felt it would be a great achievement to create a reproducible print which captured the very essence of charcoal. Working with hand tools only using roulettes, sandpaper, a drypoint needle, and a scraper/burnisher I have successfully achieved my goal and feel that I have much more to learn.
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.
Madelon Umlauf was born in Austin Texas in 1942 and educated there and in New York City. Her prints are inspired by nature. Her pieces achieve their finality when the forms in illusionistic deep space -- illusionistic because it is just ink or paint on a flat surface -- come into dynamic and coloristic balance. Although her prints and paintings are inspired by nature, she sometimes choses palettes of colors which are other than the usual colors one sees in landscapes.
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.
I consider my work a tribute to the people and places I love. My core passion is writing, and my prints reflect this through their attention to detail and their narrative quality, the way every image implies a story. I work on 3/8” thick rubber blocks, and though I work out the design many times before carving, the final image is a mystery due to vagaries of the process: the cuts may be looser or tighter in certain regions, affecting the character of the piece; or, my hand might slip and the design might then take a different course. Though I enjoy the planning stages, the best part comes near the end when the print shows itself as something I couldn’t have dreamed of.
There is something else not quite explicable that leads to the print’s separate life, and it has to do with the image coming from a 3-d object as tangible as a wall, a stone, a hand. The spirit of the block as an object somehow passes into the paper. There is a different crispness to the lines than could be made by a brush; the paper, as it is pressed, sometimes embosses around a cut. The vitality of a hand-pressed print is in such details, but is also in less chartable places.
My other passion is bookmaking. My illustrated poetry books and more of my prints can be seen at www.flyingwomanpress.com.
Printmaking is my passion.
It is a passionate media, the dichotomy of discipline and spontaneity.
Exploring the emotional universal connection,
through color and imagery and techniques,
that will start a conversation that makes a connection
is the desired result.
WPA Event Details
The deadline for this event (9/15/2007) has passed.