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Finding a Gallery that Fits: The Artist's Search for Gallery Representation


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--
Birdwell, Donna
Gratovich, Annalise

My experience creating hand-pulled woodblock prints spans over twenty years—a lot of time for the quiet meditation of carving and the splinters that go with it. I print without machinery, using palm gouges to carve and a simple wooden spoon as my press. I only make one print because in our times of material and media abundance only one is necessary. I work reductively, carving and printing in stages so that each block is reduced or destroyed as the image is produced and created. Each image remains singular, thus sacred, reflecting one experience in time.


The many contrasts inherent in these woodblock prints keep me engaged—the fast gestural line that is carved slowly, a random splash that takes hours to create, the raised rough wood becoming a dark smooth inked line, the obsessive pattern throughout providing both unity and noise.


Through my imagery I seek to obfuscate, deconstruct, reassemble and transform my everyday relationships with the shapes and patterns of the world. I seek images which deliberately set on edge the associations we bring to forms as our perceptual associations drive our entire way of thinking. I am not a symbolist nor a pure abstractionist: I use forms which might mean many things, have several names, or be both whimsical and terribly dark at the same time. The images serve as a metaphor between the visual impression of something and the conjuring of its name. Each image is an invitation to explore our ever-changing stream of perceptions and from that experience gain a type of wisdom for which there are no words.


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'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 one’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.
Swanson, Anneke
Winkles, Amanda
Workshop Details
WHEN:
4/28/2012
WHERE:
Cheryl's House
CONTACTS:
Chair: Ashley Salinas
Participate
Event Deadline
The deadline for this event (4/11/2012) has passed.