I made two prints last week of kapotasana, one of the deep backbends of the the Ashtanga yoga 2nd series. Here’s the first print:
Then Pam showed me how to roll plate oil over the ink that was left on the plate to loosen it a bit and we ran it through the press a 2nd time, creating a ghost which I like better then the print:
It seems that I can’t really get away from painting, not that I was trying to, but this is such a painterly process. I painted this image directly onto an acrylic plate with brushes and rollers, then ran it through the press.
Also last week I went to the Soprafina Gallery to see the work of Catherine Kernan. Kernan is a printmaker, a founding member of the Mixit Print Studio in Somerville, MA, and the director of the Chandler Gallery in Cambridge. I had seen an image of hers in Artscope Magazine and looked up her website. What struck me in the gallery was how big some of these prints are. Here’s a picture I took in the gallery, with permission:
This one is called Afterimage #1 and it’s a woodcut monoprint on two panels of Hannemuhle paper. As I understand it from her artist’s statement she uses multiple woodblocks to get these images. The gallery website had the images up but now that it’s April they’re gone, and I like my picture better because it gives you a sense of how the piece actually hangs on the wall. The paper billows a bit and you can see the shadow. They’re printed right to the edge of the paper, and pinned to the wall. There’s a sense of water and reflections, of course, but she continually subverts the representational image in various ways, creating something that resonates with familiarity but tugs at the edges of your sight with abstract shapes and patterns.
I’m afraid I don’t know the title of this image, but it’s a similar style, also printed on two pieces of paper. Once again in situ you have the sense of the paper flowing, as paper does, billowing away from the wall. The colors here are glowing and fiery, the bright orange toned down a bit by the presence of green and dusky blue. Black-ish strands of sinuous lines hang down the middle and frame the sides, holding the image. It’s almost volcanic, flowing lava swirling around the page.
I was pleasantly surprised to see an old friend in the gallery, not literally, but on paper. Here is an installation of works on paper by Anne Krinsky:
And one of the pieces up close:
Anne makes small and medium sized paintings using transfers and patterns in a variety of ways, on paper and on panels This piece reminds me of Chinese brushwork, the subtle tonalities are interesting as well.