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.
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.
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.
I am a printmaker living and working in Austin, Texas. My work is informed and inspired by the myth, culture, and traditional arts of the lands of my heritage: the American South and Eastern Europe.
I create fantastical characters and use them as a means to explore ideas of the bittersweet moments of human interaction.
I wrap these characters within worlds of magical realism that evoke a history and culture that could be found in folklore or fairytales, both of which are a big inspiration for me.
More recently I have been exploring ideas of memory and burden, and ideas of sin and redemption.
I am currently working on a series of eight 3 x 5 Â˝ foot hand-carved woodcuts titled "The Villagers: Carrying Things from Home.â€ť Iâ€™m using these Villagers as a way to depict the intention and accountability of oneâ€™s actions and carrying the burden of those actionsâ€™ consequences. I am currently co-publishing the series with Flatbed Press in Austin, Texas.
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 work intuitively creating inner 'vistas' as i go, while choosing universal simplicity. i want the viewer to transcend in their thoughts, feelings and spirituality." mary hunter
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 discovered printmaking relatively late in life when I took my first printmaking class in 2001. I like the process and the surprises inherent in printmaking. I am continually amazed that I am able to overcome the mess and the dirt that are part of printmaking, but I like the creativity the process brings about.
I often use my own handmade paper for my printmaking, and I love how the unique characteristics of the paper influence the final print. I am also a gardener, and this is perhaps why I like to use images that appear in nature in my artwork (and in some ways my art is an extension of my gardening).
I was living in New Mexico when a fortuitous requirement of printmaking coursework for my graduate program in art therapy led me to expression in another medium. Since that time I have been exploring printmaking and creating soft ethereal-like inspirational images. The circle or circular movement can often be seen in my artwork. The circle is a universal symbol with extensive meaning--a continuous symbol that has no beginning and no end. Throughout my life I have created circles, benefiting from the sense of comfort, peace, and total integration.
How I feel when I am making art is perfectly described in what Don Miguel Ruiz says: "When you are in your creation and you are doing what you love to do, you become what you really are again. You are not thinking in that moment; you are expressing.” I love being in that space where I am not really thinking, I am expressing what I am feeling inside. One could say that I make art to please the eye and touch the soul.
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.
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 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.
Charred bits of wood perfected by Pacific fires, pigment-laden solutions, torn papers, woven fibers, heart and soul – materials that evoke and inspire my visual language to articulate pain, sorrow, joy, the intricacies and complexities of relationships.
Printmaking inspires me, painting feeds my soul, and incorporating castaways in works of combined collage fulfills my desire to extend life. I work on canvas and paper with always a symbolic bit of jaune interspersed for the light of the sun, a sacred reference for hope.
I graduated with a B.A. in Art and English from Houston Baptist University, August 2003.
My work is about man's impact on nature and nature's impact on man.
I am a collector, a collector of forms, textures, and patterns from nature and machinery. I am driven by the thrill of discovery. My process involves research, selection, sorting and documentation. I combine long walks with time in science and engineering libraries, looking for cross category correlations.
Scientists order the world by dividing it into categories - genus and species. I dig through the stacks in reference libraries, collecting the curious. Then I put them in a blender. Mix them up and reassemble them by different common factors - function, source, visual similarity or emotive quality.
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.
When in the print studio, I most frequently create Monotypes/Monoprints and, because of the freedom this process allows, these prints become wonderful partners to my paintings.
I enjoy blending narrative and portraiture (and sometimes a bit of humor) into my works. My style is influenced by the German Expressionists and the American Social Realists.
9/26/2009 - 10/17/2009
Chair: Anna Kinbar
Co-Chair: Ruthie Powers
The deadline for this event (9/1/2009) has passed.