The Kellogg Art Gallery Presents
Printmaking Artists, Ceramic and Clay Sculptors
Visitors enjoyed the 49 print art works on display by 30 Ink Artists who exhibited their work at the 39th annual Ink & Clay exhibit.
Ink Art
David Avery - San Francisco, CA
Feeling a Bit Lightheaded Etching
The constant refrain echoing through the print world is that artists feel compelled to push back the outward boundaries of printmaking and question the archaic notions of what defines a print. Funny thing is, I like the constraints and boundaries imposed by printmaking. They provide the structure and resistance that foment ideas and create situations that can’t be duplicated by other means. Being left to my own devices and embracing a technique hundreds of years old, perhaps in this modern world I have become more interested in the exploration of inward boundaries in printmaking.2
Frederika Beesemeyer-Roeder - Pasadena CA
Night Fog and Sand Acrylic, India Ink
As an artist, I am deeply influenced by a west coast lineage. Having revered Peter Alexander, Ed Moses and Richard Diebenkorn, I believe I work in that context. Today my paintings are a deep reflection of my west coast experience. Having been born here and lived here nearly all my life my work reflects the wide vistas, horizons, and expanses of California. The paintings are also my emotional response to the landscapes and my personal experiences in these landscapes. They are a visual synthesis of experience, emotion, and place. I am currently using mixed media: acrylic, gels, resin, molding paste, matte medium, gloss medium, to build a flat canvas. I have left off color as it is a distraction of my goals. I am essentially a colorist who loves a minimal use of color; thus, black. I have been exploring night, fog, horizon, and the shimmering luminosity of it all. I have been lucky to see the twinkling of stars, the phosphorescence and the grunion along with a full moon at low tide and high tide with surging waves and almost no waves. This series of paintings is an expression of these moments and memories.
Brian Cirmo- Albany NY
The Artist & Philip Roth Tell Stories Around the Campfire
Micron Pen on Paper
I have spent the past decade traveling throughout the country visiting museums, large cities, small towns, national parks, civil war battlefields, assassination sites, graveyards, and national monuments. I am a lifelong student of the vast profundity of American music as well as a glutton for American history, literature, western painting, film, comic strips, and cartoons; all of which have consumed my nights and days. From Woody Guthrie to Woody Allen straight through to Jack Kerouac and Bob Dylan I’m fascinated by the American story and I’m committed to joining the conversation of American artists and raconteurs.
Greil Marcus, the American author, music journalist and cultural critic writes, “There is no theme richer for the American artist than the spirit and the themes of the country and the country’s history. We have never figured out what this place is about or what it is for, and the only way to even begin to answer those questions is to watch our movies, read our poets, our novelists, and listen to our music... America is the life’s work of American artists because they are doomed to be American.”
My bespectacled, bearded, and slightly balding protagonist fills his heart with the vision of Walt Whitman’s America only to get sucker punched by Philip Roth’s and Peter Saul’s America. But he continues with deepening resolve on his journey in hopes of figuring out the question of what it means to be American.
In this series of drawings my protagonist fantasies about sharing poignant and inspirational moments with his idols of American art.
Brian Cirmo - Albany NY
The Artist & Peter Saul Contemplate a Guston Painting
Micron Pen on Paper
I have spent the past decade traveling throughout the country visiting museums, large cities, small towns, national parks, civil war battlefields, assassination sites, graveyards, and national monuments. I am a lifelong student of the vast profundity of American music as well as a glutton for American history, literature, western painting, film, comic strips, and cartoons; all of which have consumed my nights and days. From Woody Guthrie to Woody Allen straight through to Jack Kerouac and Bob Dylan I’m fascinated by the American story and I’m committed to joining the conversation of American artists and raconteurs.
Greil Marcus, the American author, music journalist and cultural critic writes, “There is no theme richer for the American artist than the spirit and the themes of the country and the country’s history. We have never figured out what this place is about or what it is for, and the only way to even begin to answer those questions is to watch our movies, read our poets, our novelists, and listen to our music... America is the life’s work of American artists because they are doomed to be American.”
My bespectacled, bearded, and slightly balding protagonist fills his heart with the vision of Walt Whitman’s America only to get sucker punched by Philip Roth’s and Peter Saul’s America. But he continues with deepening resolve on his journey in hopes of figuring out the question of what it means to be American.
In this series of drawings my protagonist fantasies about sharing poignant and inspirational moments with his idols of American art.
Christiane Corcelle - Belmant NA
Square 4
Monotype, Carborundum Collagraph
Printmaking has become my primary means of artistic expression. I like the infinity of all the layers that can be achieved, the richness of the color and the sophistication of the lines that can be rendered through this complex medium.
In my prints, I juxtapose materials, shapes, and colors through a combination of different techniques. The elements blend, almost threatening each other, creating a prototype that is rich, edgy and commanding all at once.
The resulting image portrays a characteristic and contemporary style that invites individual responses and interpretation.
Christiane Corcelle - Belmant NA
Square 1
Monotype, Carborundum Collagraph
Printmaking has become my primary means of artistic expression. I like the infinity of all the layers that can be achieved, the richness of the color and the sophistication of the lines that can be rendered through this complex medium.
In my prints, I juxtapose materials, shapes, and colors through a combination of different techniques. The elements blend, almost threatening each other, creating a prototype that is rich, edgy and commanding all at once.
The resulting image portrays a characteristic and contemporary style that invites individual responses and interpretation.
Adeola Davies-Aiyeloja - Belmont MA
The Old Tree of Many Faces
Photo Etching
Multi-media artist Adeola Davies-Aiyeloja was born and raised in Lagos Nigeria and began painting at an early age. As self-taught artist, Adeola credited her consistency and endurance in her ability to create joy, love, and positive outlook in her paintings.“When you take a look at my work you instantly feel the joy and happiness the colors convey. Her work is in both private and public collections. Adeola’s work has been used in many TV and movie productions. Adeola works in various mediums: a printmaker, a painter, an enamellist and metalsmith. To follow her creative work like her page at https://www.facebook.com/AdeolaStudio.
David Graves - Santa Barbara, CA
Harkin Settlement
Reduction Woodcut
Most of the work I have produced the past 15 years is based upon my original studies and work as an anthropologist/archaeologist. In recent years my focus has been on creating abstract images which borrow from biology, geography and technology combined with the concepts used by anthropologists , especially the circle (female) and triangle (male) symbols used to construct social network diagrams.
David Graves - Santa Barbara, CA
Punkin Voodoo
Reduction Woodcut
Most of the work I have produced the past 15 years is based upon my original studies and work as an anthropologist/archaeologist. In recent years my focus has been on creating abstract images which borrow from biology, geography and technology combined with the concepts used by anthropologists , especially the circle (female) and triangle (male) symbols used to construct social network diagrams.
David Graves - Santa Barbara, CA
(K)Involution
Reduction Woodcut
Most of the work I have produced the past 15 years is based upon my original studies and work as an anthropologist/archaeologist. In recent years my focus has been on creating abstract images which borrow from biology, geography and technology combined with the concepts used by anthropologists , especially the circle (female) and triangle (male) symbols used to construct social network diagrams.
Tammy Greenwood - Temecula, CA
The Abandoning
Monotype, Pronto Plate
The images in my work have to do with archetypal symbolism and the idea of a collective unconscious. The subjects addressed are life, death, immortality, infertility, healing and rebirth through universal imagery. A feminine connection to this universal consciousness awakens images of fertility and delves into suppressed emotional wounds or deaths, allowing the possibility of healing and rebirth. It is through the use of a natural environmental palette that I attempt to draw the viewer into an experience of unearthing a personal primordial recollection just as an archeologist may try to decipher an ancient hieroglyph.
With inspiration from folklore traditions from around the globe, I rely on myth and symbolism to connect my own personal journey, not only to women of other cultures, but also other generations. The images act like a catalyst to aid in the process of storytelling, breathing continued life into these myths. It is through the layered processes of printmaking that allows me to bring all the imagery together in one cohesive life force, awakening the subconscious to begin its process of healing and renewal.
Kerry Kugelman - La Crescenta, CA
Ohne Titel 113
Acrylic, Ink, Charcoal
My paintings enable me to explore mysterious atmospheres suffused with light and color. Faded layers of textures imply time, history, and memory, a journeying back into other places we have known, and understanding them again in a different way. Landscape painting inspires much of my work, from the sublime power of Nature in 19th-century landscapes to the dappled and euphoric vistas of California Impressionism, and decidedly bleaker depictions of contemporary landscape as well. However, there is an interior landscape at work in my paintings as well, an abstracted, intuitive world. In depicting Acworld, ink is an integral part of my process because of its unique and evocative qualities, and its ability to disperse into organic textures that can be as detailed as diatoms, or as nebulous as interstellar clouds. Luminosity, atmosphere, and abstraction suffuse these paintings, as well as a brooding tonality. In the tension between light and dark, spatial illusion and the flattened surface, I explore the territory of the mysterious and the ominous, where the unknown has a sense of wonder, but possibly dread as well.
Kerry Kugelman - La Crescenta, CA
Ohne Titel (Sentinels}
Acrylic, Ink, Charcoal
My paintings enable me to explore mysterious atmospheres suffused with light and color. Faded layers of textures imply time, history, and memory, a journeying back into other places we have known, and understanding them again in a different way. Landscape painting inspires much of my work, from the sublime power of Nature in 19th-century landscapes to the dappled and euphoric vistas of California Impressionism, and decidedly bleaker depictions of contemporary landscape as well. However, there is an interior landscape at work in my paintings as well, an abstracted, intuitive world. In depicting Acworld, ink is an integral part of my process because of its unique and evocative qualities, and its ability to disperse into organic textures that can be as detailed as diatoms, or as nebulous as interstellar clouds. Luminosity, atmosphere, and abstraction suffuse these paintings, as well as a brooding tonality. In the tension between light and dark, spatial illusion and the flattened surface, I explore the territory of the mysterious and the ominous, where the unknown has a sense of wonder, but possibly dread as well.
Mako Lanselle - Glendale, CA
Sudden Gust
Silkscreen Print
On a fine fall day, I saw a lot of leaves suddenly swirl in the air.
A gust of wind caused the motion.
The leaves were of many hues, displaying various fall colors.
I would not have noticed them if they did not glide down right in front of me.
The wind made the leaves dance and show off for one last time before they settled on the ground.
A simple gust of wind choreographed the leaves that entertained me with their dance.
It was memorably and strikingly beautiful.
To show the beauty of the wind and leaves, I chose to print using silkscreen technique.
Anthony Lazorko - Mesilla, NM
Snow @ Eat-Rite
Color Woodcut
The focus of my work has always been to depict something about the American experience, no matter how ordinary, and to say it in an aesthetic manner. The enjoyment of color, composition and consideration of tactile surfaces all need to marry with the content. That being said, I sometimes will create a piece for its pictorial qualities in and of itself, sometimes for the technical challenge a visual idea may pose. Elements of the way things sound and smell are also meaningful to me. Visual images should bring about the “at onceness” experience that we all know and understand in an instance.
Anthony Lazorko - Mesilla, NM
Fast Food Momma
Color Woodcut
The focus of my work has always been to depict something about the American experience, no matter how ordinary, and to say it in an aesthetic manner. The enjoyment of color, composition and consideration of tactile surfaces all need to marry with the content. That being said, I sometimes will create a piece for its pictorial qualities in and of itself, sometimes for the technical challenge a visual idea may pose. Elements of the way things sound and smell are also meaningful to me. Visual images should bring about the “at onceness” experience that we all know and understand in an instance.
Annell Livingstone - El Prado, NM
Annell Livingstone
Graphite, Ink
Today, I look out on the mesa and see lines; roads, pathways, and wildlife trails. I see lines, which outline the mountains, around Taos valley. I see lines made of wire strung on fences and telephone poles. I look up and see vapor trails; white against a clear blue New Mexico sky. Linear symbols are scratched on rocks by early man; drawing is everywhere. Drawing is a human activity which does not have to be learned; it is a global visual language.
Drawing is a visual language.
I kneel down and plunge my finger into warm sand; I pull my finger to my heart, leaving a trace upon the ground. I am drawing, the earliest and most immediate form of image making. I am creating an authentic expression, closely allied with story telling. It is part of what it means to be human and through drawing, I never lose that sense of wonder.
Drawing holds a sense of wonder.
When I draw, I am able to see, to attract, to convey, to drag, to elicit, to evoke, to extract, to gather, to haul, to hook, to pick, to puck, to pull, to tug, to wind in, to wrench, to yank, to follow, to explore, and to find the images I see; to find the answer that is honest pure, uncontaminated, direct, anti-monumental, and one not necessarily described as “art”...an answer that expresses the imagination, creativity and perhaps skill; a personal narrative. An answer that is simple.
Drawings with nothing left to add and nothing left to take away.
Drawing has been regarded as simultaneously fundamental and peripheral, essential to artistic practice and the most basic skill an artist can possess. Drawing allows the artist to dream the endless dream making notes along the way. Drawing connects the artist to infinity and eternity; it is a map of time.
Drawings are a map of time.
My drawings could be seen as pages of a diary or personal journal, and like poetry, one idea dissolves into another and the work becomes a sequence of new images; like each new day, forever changing. Drawing and touch could be thought of as the same experience, only one leaves traces.
The drawings could be seen as pages of a diary, with touches that leave traces.
Cynthia MacCollum - New Canaan, CT
Glow
Collagraph Monoprint
As a painter and printmaker, I find inspiration in fragments of nature held close for reflection. I employ a personal vocabulary of fluid marks and organic imagery to express the sensual pleasure and ephemeral quality of the natural world. Within this realm, my work varies from representational to abstract, with a decided recent tilt towards abstraction. I tend to work in series, either in regard to the materials used in creating my collagraph plates, or in the exploration of a particular image. I value printmaking processes that are apparent in the finished work-the marks and layers that accumulate on plates add depth and contribute to the story of my work, implying a life lived or a patina of age.
Enrica Marshall - San Clemente, CA
Another Day at the River
Serigraph
As an artist and a printmaker, I believe in challenging myself in different processes and subject matter within the fields of my study. I believe in trying to grow as much one can.
Different processes inspire different approaches to subject matter.
Marti McKee - San Francisco, CA
Assimication II
Etching
As an artist and a printmaker, I believe in challenging myself in different processes and subject matter within the fields of my study. I believe in trying to grow as much one can.
Different processes inspire different approaches to subject matter.
Kimiko Miyoshi - Long Beach, CA
Spill I
Monotype Layered Handwork
I use both traditional and non-traditional printmaking processes. I am interested in scientific methodology and experimentation. I am drawn to trivial and forgotten objects. I am attracted to phenomena that are too absurd to be taken seriously or too ordinary to be noticed. After receiving an MFA in studio art degree, I built scientific exhibitions for Explora Science Center, a children’s science museum in Albuquerque, NM. This work had a great effect on my creative practice and observational habit. Some recent focuses of my work are to transform insignificant and trivial objects into something visually striking and to invoke a renewed curiosity in the viewer, and thus providing a perpetual amusement in their life.
Things disappearing are beautiful to me. My choice of subject matter is related to my own existential perception. As I often feel rather powerless and invisible in contemporary society, these forgotten objects become ciphers for a state of being akin to mine. My passion toward printmaking stems from a similar kinship I have toward this discipline that is seemingly outdated. However, I am hopeful about the possibilities and the power of the repeatable medium as well as the beautiful marks made with this medium.
Kimiko Miyoshi - Long Beach, CA
Spill II
Monotype Layered Handwork
I use both traditional and non-traditional printmaking processes. I am interested in scientific methodology and experimentation. I am drawn to trivial and forgotten objects. I am attracted to phenomena that are too absurd to be taken seriously or too ordinary to be noticed. After receiving an MFA in studio art degree, I built scientific exhibitions for Explora Science Center, a children’s science museum in Albuquerque, NM. This work had a great effect on my creative practice and observational habit. Some recent focuses of my work are to transform insignificant and trivial objects into something visually striking and to invoke a renewed curiosity in the viewer, and thus providing a perpetual amusement in their life.
Things disappearing are beautiful to me. My choice of subject matter is related to my own existential perception. As I often feel rather powerless and invisible in contemporary society, these forgotten objects become ciphers for a state of being akin to mine. My passion toward printmaking stems from a similar kinship I have toward this discipline that is seemingly outdated. However, I am hopeful about the possibilities and the power of the repeatable medium as well as the beautiful marks made with this medium.
Michael Paieda- San Pedro, CA
Donkey Assemblage
Pen and Ink
I spent years trying to create my vision through painting. Although I had successful results, I always fought the process.
Drawing however, has always been a satisfying process, something to lose myself in. Over the years I’ve found that enjoying the process allows me to explore my ideas more effectively.
Ceramics was something I learned early in college and although, I did not pursue it in graduate school, the process was always on my mind and eventually pulled me back.
Currently I am exploring through both drawing and ceramics. I look for juxtaposition; elements that should not fit together, but somehow can be made to work together. I have always been fascinated by the forms animals take, and when working in construction while in college, became intrigued by the order and logic of the plumbing and framing techniques used in large buildings. I love that these can be combined and so I do.
Michael Paieda- San Pedro, CA
Crow Assemblage
Pen and Ink
I spent years trying to create my vision through painting. Although I had successful results, I always fought the process.
Drawing however, has always been a satisfying process, something to lose myself in. Over the years I’ve found that enjoying the process allows me to explore my ideas more effectively.
Ceramics was something I learned early in college and although, I did not pursue it in graduate school, the process was always on my mind and eventually pulled me back.
Currently I am exploring through both drawing and ceramics. I look for juxtaposition; elements that should not fit together, but somehow can be made to work together. I have always been fascinated by the forms animals take, and when working in construction while in college, became intrigued by the order and logic of the plumbing and framing techniques used in large buildings. I love that these can be combined and so I do.
Varsha Patel- Lake Forest, CA
Force of Nature
Linocut Reduction
I was born and raised in India, where I got my B.A. in Fine Arts.
I have been drawing and painting all my life but for the last five years I have been concentrating on print making, especially linocut reduction prints in several colors. I find it very relaxing.
My inspiration comes from beauty of nature and vibrant colors from the culture I was raised in.
Varsha Patel- Lake Forest, CA
Serenity
Linocut Reduction
I was born and raised in India, where I got my B.A. in Fine Arts.
I have been drawing and painting all my life but for the last five years I have been concentrating on print making, especially linocut reduction prints in several colors. I find it very relaxing.
My inspiration comes from beauty of nature and vibrant colors from the culture I was raised in.
Cheryl Rogers- Fort Collins, CO
MSM - 27
Intaglio-Etching, Drypoint
Observations and reactions to life experiences, human relationships, and my interaction with natural phenomena fuel the images in my work. Working in various media, I create contemporary lithography, intaglio, serigraphy and archival inkjet-pigment prints and mixed media drawings/paintings. I often combine layering and juxtaposition of hand-made source material with my digital and photographic processes. I also incorporate multiple printmaking media in larger mixed media works on paper. My lifetime body of work is part of the Artist Printmaker Research Collection housed in The Museum of Art at Texas Tech University, Lubbock, Texas. Since 2006, I have been exhibiting professionally in galleries, museums, and national and international juried and invitational exhibitions. My work has shown in 18 states and is part of permanent and private collections in the United States, Australia, and Malaysia. Bois d’ Arc Press, my studio, is located at 3701 Plains Blvd, Studio #65 in Amarillo, TX.
Education: MFA, studio art; BA, English & art education; MA, English from West Texas A&M University, Canyon, TX; AAS, graphic design, Amarillo College.
Contact: www.barbarawardart.com, e-mail barbarapward@suddenlink.net, or cell: (806) 683-9215.
Cheryl Rogers- Fort Collins, CO
MSM - Composition 3
Intaglio-Etching, Drypoint
Observations and reactions to life experiences, human relationships, and my interaction with natural phenomena fuel the images in my work. Working in various media, I create contemporary lithography, intaglio, serigraphy and archival inkjet-pigment prints and mixed media drawings/paintings. I often combine layering and juxtaposition of hand-made source material with my digital and photographic processes. I also incorporate multiple printmaking media in larger mixed media works on paper. My lifetime body of work is part of the Artist Printmaker Research Collection housed in The Museum of Art at Texas Tech University, Lubbock, Texas. Since 2006, I have been exhibiting professionally in galleries, museums, and national and international juried and invitational exhibitions. My work has shown in 18 states and is part of permanent and private collections in the United States, Australia, and Malaysia. Bois d’ Arc Press, my studio, is located at 3701 Plains Blvd, Studio #65 in Amarillo, TX.
Education: MFA, studio art; BA, English & art education; MA, English from West Texas A&M University, Canyon, TX; AAS, graphic design, Amarillo College.
Contact: www.barbarawardart.com, e-mail barbarapward@suddenlink.net, or cell: (806) 683-9215.
Brandon Sanderson- Fort Collins, CO
Denizens IX: The Fauna
Intaglio
OThe Denizens etchings explore human folly. The characters are absurdly constructed of mechanical and organic elements. Just like many people, they are unaware of an awkward and ill-conceived nature. The series also references similar veins within popular culture. For example, Denizens V: The Bachelor was influenced by my reaction to Beyonce’s Single Ladies (Put a Ring on It) music video. These denizens belong to a collective, a neighborhood. As such, the background of each image indicates a suburban landscape. Similar to Goya’s Caprichos, these manifestations emerge while the rational mind sleeps. In the late evenings and early mornings, these creatures dance, fly and fight.
Brandon Sanderson- Fort Collins, CO
Denizens VI: The Centenarian
Intaglio
OThe Denizens etchings explore human folly. The characters are absurdly constructed of mechanical and organic elements. Just like many people, they are unaware of an awkward and ill-conceived nature. The series also references similar veins within popular culture. For example, Denizens V: The Bachelor was influenced by my reaction to Beyonce’s Single Ladies (Put a Ring on It) music video. These denizens belong to a collective, a neighborhood. As such, the background of each image indicates a suburban landscape. Similar to Goya’s Caprichos, these manifestations emerge while the rational mind sleeps. In the late evenings and early mornings, these creatures dance, fly and fight.
Gretchen Schermerhorn- Silver Spring, MD
Gun Play
Woodblock, Thread
My work is created as a response to CP Snow’s call for a “third culture” to bridge art and science. Specifically, my work focuses on biological and sociological systems: DNA coding, cell division, often in juxtaposition to imagined map-like symbols depicting interconnected relationships. I see these symbols as diagrams of imagined space involving interaction, entanglement, memory and contemplation.
Much like my work’s conceptual basis, I find myself drifting quite a bit—largely due to my own inertia. Balancing random and calculated moves, researching the laws of science and art, my work continues to change—allowing viewers to see where I have been, what I saw, and sometimes what was lost.
Gretchen Schermerhorn- Silver Spring, MD
Gun Play
Woodblock, Thread
My work is created as a response to CP Snow’s call for a “third culture” to bridge art and science. Specifically, my work focuses on biological and sociological systems: DNA coding, cell division, often in juxtaposition to imagined map-like symbols depicting interconnected relationships. I see these symbols as diagrams of imagined space involving interaction, entanglement, memory and contemplation.
Much like my work’s conceptual basis, I find myself drifting quite a bit—largely due to my own inertia. Balancing random and calculated moves, researching the laws of science and art, my work continues to change—allowing viewers to see where I have been, what I saw, and sometimes what was lost.
Gretchen Schermerhorn- Silver Spring, MD
If Enjoying
Porcelain, Handmade Paper
My work is created as a response to CP Snow’s call for a “third culture” to bridge art and science. Specifically, my work focuses on biological and sociological systems: DNA coding, cell division, often in juxtaposition to imagined map-like symbols depicting interconnected relationships. I see these symbols as diagrams of imagined space involving interaction, entanglement, memory and contemplation.
Much like my work’s conceptual basis, I find myself drifting quite a bit—largely due to my own inertia. Balancing random and calculated moves, researching the laws of science and art, my work continues to change—allowing viewers to see where I have been, what I saw, and sometimes what was lost.
Macus Thibodeau- Santa Ana, CA
And If You Gaze Long Into An Abyss
Screenprint, Plexiglass, Mixed Media
Noriho Uriu- Irvine, CA
Revival
Printmaking
The theme of my prints displayed 39 Ink and Clay are prints from “ conceptual mapping series”
As a conceptual map is used as a way to develop one perspective based on those that came before it, I used an intaglio print of a normal circuit board, altered it and added with physical layer by cutting prints and assembling them.
The image evokes a developed urban space, featuring overlapping ripples of social communication and interactions.
Noriho Uriu- Irvine, CA
Colored Town
Printmaking
The theme of my prints displayed 39 Ink and Clay are prints from “ conceptual mapping series”
As a conceptual map is used as a way to develop one perspective based on those that came before it, I used an intaglio print of a normal circuit board, altered it and added with physical layer by cutting prints and assembling them.
The image evokes a developed urban space, featuring overlapping ripples of social communication and interactions.
Barbara Payne Ward- Amarillo, TX
Balance
Lithograph
Observations and reactions to life experiences, human relationships, and my interaction with natural phenomena fuel the images in my work. Working in various media, I create contemporary lithography, intaglio, serigraphy and archival inkjet-pigment prints and mixed media drawings/paintings. I often combine layering and juxtaposition of hand-made source material with my digital and photographic processes. I also incorporate multiple printmaking media in larger mixed media works on paper. My lifetime body of work is part of the Artist Printmaker Research Collection housed in The Museum of Art at Texas Tech University, Lubbock, Texas. Since 2006, I have been exhibiting professionally in galleries, museums, and national and international juried and invitational exhibitions. My work has shown in 18 states and is part of permanent and private collections in the United States, Australia, and Malaysia. Bois d’ Arc Press, my studio, is located at 3701 Plains Blvd, Studio #65 in Amarillo, TX.
Education: MFA, studio art; BA, English & art education; MA, English from West Texas A&M University, Canyon, TX; AAS, graphic design, Amarillo College.
Contact: www.barbarawardart.com, e-mail barbarapward@suddenlink.net, or cell: (806) 683-9215.
Chris Warot - Aurora, CO
2000
4 Color Process Solar Plate
I set out in 2012 to create 3 new 4-color process Solarplate intaglio prints. With no first sense of initial direction, other than long and narrow image dimensions. Each new image showed up right as I needed it, based on either a previous print, or from an acrylic painting.
Margi Weir - Detroit, MI
Detroit Two Story
Sumi Ink, India Ink, Tusche
It was not until I moved to Detroit in the fall of 2009, that I encountered the urban ruins that are so prevalent here. After the initial shock, like many others, I was attracted to these relics. Unlike many others, I did not retreat to the suburbs. I moved in among them and these “bones” have become personal. The open form left by fire and weather appeals to my sense of design. They have become part of my everyday world, my neighbors.
In the “Frontline Series/ Detroit”, the title is a reference to a technique that I call “snap line”, with which I begin each drawing. A “snap line” is made by dipping cotton twine into thinned acrylic paint or ink and snapping a taut line onto the support, similar to plucking a guitar string. The “snap line” is a record of the violent impact of paint with support. It suggests an event, an explosion, a reverberation, yet the over spray lends a softness to the line quality. I like the idea that something beautiful on the surface has an underlying violence, a dark side, if you will.
Margi Weir - Detroit, MI
Detroit Curtain 3
Sumi Ink, India Ink, Tusche
It was not until I moved to Detroit in the fall of 2009, that I encountered the urban ruins that are so prevalent here. After the initial shock, like many others, I was attracted to these relics. Unlike many others, I did not retreat to the suburbs. I moved in among them and these “bones” have become personal. The open form left by fire and weather appeals to my sense of design. They have become part of my everyday world, my neighbors.
In the “Frontline Series/ Detroit”, the title is a reference to a technique that I call “snap line”, with which I begin each drawing. A “snap line” is made by dipping cotton twine into thinned acrylic paint or ink and snapping a taut line onto the support, similar to plucking a guitar string. The “snap line” is a record of the violent impact of paint with support. It suggests an event, an explosion, a reverberation, yet the over spray lends a softness to the line quality. I like the idea that something beautiful on the surface has an underlying violence, a dark side, if you will.
Jim Zver - Los Angeles, CA
September Collage #6
Paper, Acrylic, India Ink, Pastel
The arrangements of the pre-cut shapes in my collages are decided upon by their implied suggestions of space in their relationship to one another. When I am working extremely well there is a point when I begin to work completely intuitively, in a place where my compositional choices do not depend on conscious knowledge of composition and color. The decisions become automatic and the collage elements themselves dictate their positions. Surprising and unexpected choices are allowed and all visual arrangements seem possible.
The collage then “cools off” for a period of time, usually one to three weeks. During this period I can look at it with objectivity, considering final and more distanced and objective adjustments. However, it is in this other place where I feel the collage is conceived, where the most important choices are made and where it ultimately lives.
Jim Zver - Los Angeles, CA
September Collage #8
Paper, Acrylic, India Ink, Pastel
The arrangements of the pre-cut shapes in my collages are decided upon by their implied suggestions of space in their relationship to one another. When I am working extremely well there is a point when I begin to work completely intuitively, in a place where my compositional choices do not depend on conscious knowledge of composition and color. The decisions become automatic and the collage elements themselves dictate their positions. Surprising and unexpected choices are allowed and all visual arrangements seem possible.
The collage then “cools off” for a period of time, usually one to three weeks. During this period I can look at it with objectivity, considering final and more distanced and objective adjustments. However, it is in this other place where I feel the collage is conceived, where the most important choices are made and where it ultimately lives.
x
<
>
1 - 49
© 2013 Kellogg Art Gallery. All Rights Reserved.