I was diagnosed with talent at an early age, and was always the artist of the family. I was proud of my draftsmanship, but as time went by, I realized that I couldn't take credit for my talent; it was a gift. What I do take credit for is the effort I have made through the years to master my craft, those areas of printmaking that I focus on: mezzotint, etching and linoleum. My preferred subject is the human face and figure. I am fascinated by faces, and in trying to capture them I increase my understanding of what it means to be human.
The natural world is my muse. The complex process of printmaking – from the selection of plate surface to the choice of inks – is inspired by the subject matter. The concerns of our environment, man’s impact on his surroundings, and the future of the planet influence my subject choices. There is beauty in small moments; my goal is to capture the essence of those moments.
I print at Slugfest in East Austin. You can see more of my work by visiting www.tbondartist.com
I am a Minneapolis born and raised book artist and printer, creating artist books, prints and broadsides. I recently relocated to Austin, Texas. As a printer I work with various print media, including; photopolymer, linoleum, stratagraghs, collagraphs, and both wood and lead type. As a lover of words I often incorporate typographic elements into my work. At times my prose is the starting content upon which an artist book or broadside is built. At other times I use typographic elements abstractly in the printed layers of my work. I work spontaneously, experimenting with results, often layering various techniques and types of ink into a single piece. I am interested in exploring the visual effects of this layering and the resulting texture on the page. As an artist I was drawn to the form of the book for several reasons; the most obvious one is my lifelong and absolute love for books. I am also a bibliophile. Another is the intimate interaction that happens between a book and its reader. That interactivity and intimacy between a piece and its audience appeals to me very much.
Beth Ferguson have been part of the ecological art movement on many fronts. In 2001 she stared organizing 20 person bicycle circus tours and co-founded Bikes Across Borders in Austin, TX that has worked to send over 700 bikes to community groups from Latin America. Their work utilizes popular education techniques, linocut imagery, and theatre to cross language and cultural barriers in order to expose, explain and connect complex political, social, and environmental issues that affect people on all sides of the border. Beth has been working with the Green Map System, which promotes ecological and cultural resources, as a graphic designer and special projects coordinator. She is currently colaborating on illustrations for a Radical Urban Sustainability Manual for the Rhizome Collective and organizing a community print shop at the Rhizome Collective for linocut and silkscreen projects and classes. Her hand colored linocut print work refects her interest in bicycles and the environment. Beth Ferguson 300 Allen St. Austin, TX 78702 512-228-4877 email@example.com bikesacrossborders.org
Anne Gaines has received several awards: The most recent award is Best in Media at the 2010 Rockport Art Festival, July 3 & 4, 2010. Other Awards include: Sun Newspaper's 2005 "Readers Choice Best Artist" for Fort Bend County, Best in Media at the 2003 Rockport Art Festival, First Place and Best of Show at Texian Market Days at the George Ranch, for Blue Eyes and Bluebonnets and Beneath the Rig. Recent shows include the Bayou City Art Festival in Downtown Houston 2005, 2007 and 2009, the Rockport Art Festival in 2006, 2008, 2009, 2010 and 2011, and the Woodlands Waterway 2007 and 2008. She exhibited at the inaugural Art in the Square in Georgetown, Texas in 2009, and again in 2010. She was honored to be the Featured Artist at the American Petroleum Institute's booth at OTC in May 2005, and the SNAP Gala at the Square Moon Gallery in the
You can find Anne's linocuts at Treasure Hunters Gallery in Historic Richmond TX.
I create abstract woodblock prints to investigate and respond to the visual, tactile, and experiential world. I make these works by carving marks into wood that is then rolled with ink. The inked impression is transferred to paper by rubbing with a wooden spoon. Each layer of color builds a surface that is both planned and accidental. Printing and carving occur in stages—I cut back into the same blocks over and over again through time. In this way, as the print is created, the blocks are destroyed. I view the process of relief printmaking as a metaphor exposing the gaps between the physical, the imagined, and what we perceive as the "seen” reality.
My imagery resides in this gap between visual impressions and the conjuring of names or descriptions. This gap is what separates the familiar from the unknown and is where I try to situate each work. I juxtapose the sensual and visceral against the spiritual and symbolic and create realms where the sacred and profane exist in tandem. To accomplish this, I obfuscate, deconstruct, reassemble, and transform visuals culled from my perceptions of both organic and man-made environments, dreams, memories, and learned or imagined myths.
I aim to discover images that deliberately set on edge the associations we bring to forms. In other words, I use forms that might mean many things, have several names, or be both whimsical and terribly dark at the same time. Since the process of constructing narratives is fluid, active, and personal, each viewer completes the work, bringing his or her own associations to bear in how to decipher each piece. It is in this open space—this stream of ever-changing perceptions, before mental categorization and verbal assignments—where we discover how to bridge what we see with what we know.
Lately when I create art it is about getting out of my own head. Letting go of control over the world and planning every minute. It is a kind of meditation that allows my emotions to spill onto the page without being filtered, judged, and edited. I try to let my subconscious direct the process. I like to use organic materials I collect from my yard and on walks. I also use cut paper and found objects in my work. I love that what is essentially a weed can turn into something beautiful on the page and it has given me a new way of looking at the world around me. I have found that art helps me to be more intuitive, creative, and relaxed in all aspects of my life.
I strive for Magritte's basic intention, to make art with a "disturbing poetic effect."ť My work presents exotic subjects in the drama of black and white, or the subtle monochromatic tones of printers' inks. The prints are based on my photos of real places and slightly mysterious objects that are embraced by a post-apocalyptic anxiety, which induces a state of psychological unease in the viewer. The images raise questions, but knowing the back story doesn't necessarily provide comfort. The result is by turns intimate, earthy, fragile, universal, and contemporary. The images are full of the organic subtlety showing the naked beauty of weathered rock and plants, contrasted with man-made architectural elements. The organic elements complement the man-made. In purely aesthetic terms, the works use an interplay of tones and textures, with formal qualities of composition in the arrangements of objects under the viewer's gaze. The unfamiliar induces a state of ambiguity mixed with a strange longing or nostalgia. The camera captures temporal events, figurative and narrative, fragments in the cycle of life and death. History is revealed in multiple layers with an underlying order and inherent drama exposed in contrast and detail, painterly and sculptural at the same time.
I was living in New Mexico when a fortuitous requirement of printmaking coursework for my graduate program in art therapy led me to expression in another medium. Since that time I have been exploring printmaking and creating soft ethereal-like inspirational images. The circle or circular movement can often be seen in my artwork. The circle is a universal symbol with extensive meaning--a continuous symbol that has no beginning and no end. Throughout my life I have created circles, benefiting from the sense of comfort, peace, and total integration.
How I feel when I am making art is perfectly described in what Don Miguel Ruiz says: "When you are in your creation and you are doing what you love to do, you become what you really are again. You are not thinking in that moment; you are expressing.” I love being in that space where I am not really thinking, I am expressing what I am feeling inside. One could say that I make art to please the eye and touch the soul.
My art is a gift from my Father. I am blessed beyond measure. It is indeed a part of who I am.
Experimentation with various mediums and the manipulation of those mediums is a driving force which provides interesting puzzles in need of solving. When I am in that place...experimenting and trying to solve that puzzle...I am joy filled.
I also like to work in series. It is freedom giving. Some series never make it past the first in the series, but had their beginning with a series in mind. Series tend to allow for building. A new concept is not needed each time I approach a blank paper or canvas. There is already something their awaiting to be built upon.
Anna Marie Pavlik 417 Wapping St. Frankfort, Kentucky 40601
firstname.lastname@example.org 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
email@example.com 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.
10/4/2006 - 10/30/2006
Doughtery Arts Center, Austin, TX
Chair: Cathy Savage
Co-Chair: Angela Hayes
The deadline for this event (10/2/2006) has passed.