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 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.
No doubt my passion for art arrived at a very young age while tromping through the woods in rural Mississippi. Every pod, seed, leaf or root would catch my attention and I immediately found beauty in what most would overlook as decay. Having pursued a career in graphic design I eventually abandoned my passion to explore and draw those interesting shapes cast off by it’s maker. It's been just recently that I have rediscovered those lost beauties and once again I find myself studying those odd shapes and how they lurk just beneath us as if to say, “Here I am”.
Printmaking, once studied long ago in art school and recently revisited, has revived my interest in documenting these oddities. Having studied this past fall in Italy the method of solar plate etching and monotype, I am currently working on a series of pieces called “Conversations”. This series is inspired by nature and illustrates the contrast of nature and habit and how these two things coincide to create the diverse and many ways we communicate.
The art I make is inspired by the lines, textures, feeling and forms of the natural world. I am a printmaker, painter, jewelry maker, work with mixed-media on paper and am learning ceramics. The fun has been to learn how each discipline informs the others...inspiring efforts to push and combine the various materials.
I have a Bachelor of Fine Arts from the University of Texas.
Through my monoprints I hope to create a moment of reflection on the rhythms and beauties of nature, the world and our relationship with it, that often go unnoticed in our lives. In my studio I use the Reductive Ink monoprint process that I learned by studying with D. Michael Coffee. It is unique, in that one can use a combination of painting, drawing, and printmaking techniques. It results in a one of a kind hand pressed image.
When I am working in my studio I try to respond intuitively both to my Inner spirit and to the natural world. The reductive ink process really allows this to happen for me. Through inner reflection I am free to be in the moment and have an honest connection with the subject or a central motif. I let the spontaneity of the moment direct the work with very little idea of where it will end up. I find this is a place or process where I can play and explore without judgment. I keep in mind the complexity and repetitious shapes, lines, and movement that are happening and enjoy layering images and colors in the ongoing process. When working in black and white, I enjoy the richness and possibilities of contrasting tonality. Making art this way then becomes an outcome not just a result.
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.
Living out in the country has been a major influence on my present work, and of late, the recent drought here in Texas and what it has done to our pond has been the major source in these recent works. Our pond has dried up twice this summer. The first time it dried up was the most devastating as we lost all our fish, frogs, turtles and many more organisms that help sustain life around the pond. The many birds, reptiles, and animals that frequent the pond have had their lives severely altered. As of now, after a recent rain a few weeks ago, we have water again but it will take years to form the ecosystem that existed before the drought.
In other works, the content is about the cycle of life, a kind of eternal dance that not only starts and ends and repeats, but leaves echoes that remain for a time. The images and diagrams of the moon are the most prominent recurring objects in my work and represent for me the cycles of the seasons and the renewal of life. Other recurring images are shells that leave the negative imprint of the living matter they once contained, spiral galaxies that suggest creation, evolution, and the gravitational pull into the center and the unknown, and additional visual parallels for the cyclic nature of birth, death, and regeneration such as plants, bees, and microscopic organisms.
My color reduction woodcuts celebrate the extraordinary moments of my life: Bliss of Being. I strive to capture the truth and beauty of my subjects. Some images deal with a particular feeling or emotion I have toward my immediate environment. Resonant Reflections II is a close up view of the reflections in my small water garden. Fenętre sur les Trois Pucelles is the velux view from my studio window when I lived in Pariset, France.
My travels have inspired several prints. A brief encounter with a Bedouin woman in Jordan with facial tattoos was the impetus for Jamal Al Hickma (the beauty of wisdom). A trip to Thailand and an interest in Buddhism as well as contemporary Theology evolved into Sab pan yu.
Throughout my schooling and career, I have been interested in how the parts work together to create the whole. As a printmaker, the processes alone fulfill this constant need to build, whether assembling stencils or building onto plates. Combined with my imagery pulled from family traditions of quilting, I hope to create a body of work that inspires an appreciation of feminine and feminist representations in art and art-making.
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.
Fundamentally, my creative process is about transformative sexual energy but I am not interested in showing the explicit but the implicit.When I start a composition,I start with the explicit to take me to different things.My traing is en the school of painting, the school in which I am continually developing my work.Maybe because of that in my work, the painting has a trace of the explicit in its trajectory.
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.
Iâ€™ve collected coincidences for ten years. It started when I read two books in a row that both included the phrase â€śantique dental instrument.â€ť 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, â€śantique dental instrumentâ€ť has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as â€śstuffed mountain lionâ€ť or â€śblack currant lozenge,â€ť 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 painterâ€™s
Olivette graduated from the University of Oklahoma with
a degree in Painting. After graduation she worked for Hallmark
Cards as a designer. She was hired as a silk screen artist for
Edition Domberger Seibdruck in Stuttgart, Germany for two years.
Her design firm Olivette Hubler Graphics Inc. created mail order
catalogues for such companies as Neiman Marcus, The Horchow Collection and The Smithsonian Institution. Olivette has simultaneously practiced painting, printmaking and photography in tandem with her commercial career.
In 2000 she began devoting full time fine art. A seasoned plein air painter, Olivette has traveled extensively through the southwest, and
Europe. She enjoys drawing and painting figurative subjects as well as landscapes.
Olivette has studied printmaking with Larry Scholder and Peter Ligon at SMU. Their introduction to the techniques of etching, in particular the “drawing” aspect of dry point and soft ground etching brings together her life long devotion to life drawing and nature studies in this fascinating art form.
Currently she maintains a studio at her home and enjoys working as a teacher both with adults and especially with young artists.
My work is a constant search of knowledge, both personal and external. I concentrate on the consideration of life, time and space. My work synthesizes mythology and reality into dynamic environments in which spaces expand and contract unexpectedly. Using energetic patterns and lines, I create planes intertwined with people and animals creating an exuberant narrative. Recently I extended my interest into natural motifs in a series of mountain and forest landscapes, in which a principle moment appears frozen. Challenging the notions of time and sequence, in which the viewer completes the narrative.
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.
Caryl is the former Director of Research and Special Projects at the Roski School of Fine Art at the University of Southern California where she has taught and directed both undergraduate and graduate coursework in the field of public art for over 15 years. Her private practice as a public art professional and studio artist have led to projects of national and international award recognition. With past public art lighting and video installation projects in Singapore, Coventry England, New Orleans and Montreal – her recent “Sonic Wall installation near Philadelphia has garnered the National Award of Merit from the American Illuminating Engineering Society. Caryl’s studio practice has recently focused upon her background in painting and printmaking in Chinatown - her new downtown Los Angeles location. This new body of work is patronized by national and international corporate sponsors as well as presented in group exhibitions by Los Angeles galleries and the Santa Monica Museum of Art’s “Incognito” 2012.
I have been working on the theme of Eve and the fall of man as well as other Biblical themes and stories from mythology. My medium is printmaking, both intaglio and linocut. I am a member of the LA Printmaker's Society and the San Diego Book Arts Assn. and my work has been in exhibits both nationall and internationally.
In my work, I have been interested in exploring social interactions and activities as well as self-realizations, and calling into question ideas and associations regarding our interaction with the world, each other, and how we perceive ourselves. My own background, as an individual raised in rural Ohio, has greatly influenced the manner in which I have depicted these ideas - I frequently use images of animals, the occasional household item, landscape and other natural elements. By doing these explorations indirectly through the use of these objects/characters and allowing them to interact in a tableau having the feeling of being a frozen moment from a story, I find that I am able to create meaningful interactions between viewers and the works. The characters I have been selecting and incorporating in my prints have inherently carried many associations since they are tied to nature, landscape, and situations that may be encountered there. I have found that even the visual textures created in some of my photogravure works become relics of the imagination. The significance of this and what it means in regard to how we think, perceive ourselves, and how we interact with others is of great interest to me.
My current body of work is based on diseased tissue of the heart, lung and liver tissues. I use this imagery to explore the negative and positive aspects of mutation at a cellular lever, and how it is both destructive and innovative. I break the imagery down into simple, formal, fundamental shapes to create cellular elements which become the tools of my drawing practice. With the development of electron microscopy, I imagine to possess the same filter when choosing the color and composition of my prints. I attach lighting elements to create the experience of looking though a microscope and to add life to the produced tissue samples. Depending on what emotion I want to represent, the imagery will either be a simple composition to emphasize the basic organic growth of life or a very chaotic scene to display stress and tension. I use repetition to give an identity to the cells and the importance of each one's placement.
Born in Israel in 1948, Edna was brought up and educated in Montreal. She returned to her family's Israeli roots in 1977 and settled in Jerusalem. She has lived there since, apart for five-year sojourn in California.
As an artist with specialties in Printmaking, Sumi-e Painting, Calligraphy, and Papermaking, she has exhibited her work over the past thirty years in museums and galleries in the US, Israel, Russia and Japan. Her own approach to her art is a spiritual one facilitated through meditation followed by spontaneous creation.
As an Expressive Arts Therapist and Educator, she created a course called "Expressive Kavannah" which uses an intermodal model to explore Jewish identity through the arts. She is the founder of two studios in Jerusalem, the first Studio Spiral, a unique Children's Creativity Center and secondly, Studio Indigo, an Adult Expressive Arts Center.
She has been artist in residence and therapist/educator at institutes, schools and communities in the U.S, Israel and Great Britain.
Every composition reveals, by its unique strength, how it would resolve itself as it follows the tendencies of its internal forces. I am interpreting nature in its purest, abstract state - constructing a rhythm of pictorial lyricism utilizing land and sky forms as my inspiration. I place great emphasis on edge and the interrelationship of form and value in maintaining a harmony of visual balance. No object may be viewed in isolation, but absorbs its surroundings, just as it contributes to the total composition. The 16 gage mezzotint plate is the surface upon which burnished shapes and engraved - drypoint lines are incised. Dark brown and cadmium red-dark etching ink was used on German Copperplate Deluxe paper to create the imagery. For me the mezzotint alone holds the potential of lush deep low key values and soft sensitive middle tones.
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 feel my art making is a work in progress. My "artistic voice” has not been found, but I feel I am at least practicing my vocal chords. I am inspired by nature with her many textures and layers. Many of my pieces seem to incorporate layers and textures. I find the colors, patterns and shapes created by many layers appealing. At times, my work involves contrasts. One of my latest pieces involves the theme of achieving balance in my life.
My primary medium is printmaking. I feel this medium allows for a high degree of experimentation and play. Collograph and solar etching are the two techniques I use most frequently. I love the instant gratification they provide. I also enjoy creating mixed media art incorporating acrylics, collage, printmaking and found objects. I feel I am on the right path as long as I am creating, regardless of the medium or technique. Creating brings me peace and a sense of self worth. Hopefully, I will eventually find my "voice” and sing a melody that resonates from my soul.
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.
7/7/2012 - 8/18/2012
Live Oak Center, Columbus, Texas
Chair: Carol Hayman
Co-Chair: Amy Guadagnoli
The deadline for this event (3/15/2012) has passed.