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Playing with the Camel

twins

Something happens to the tile pattern when it’s pressed into the gelatin, and everything sort of smooshes in a way that I don’t care for.  It workes better if I press it directly against the paper.  The same cannot be said for these stencils…

The secret to working with the Akua inks lies in also using the blending medium and the transparent base so that you can control the viscosity. Thank you again Catherine Kernan!

mirroredustrasana

This one was a bit of a surprise, I thought the ghost figure would be more prominent but I like it this way.

twinustrasana

Here I used the rollers to lift off patterned ink from various surfaces and layer them down on the plate.  Sort of a hodge podge but there’s potential here, a direction for future working sessions.

Meanwhile, last week I went to MFA Boston.  My brilliant (if you don’t mind me saying so) strategy there was to sign my daughter up for a sculpture class at MassArt, leaving me a few hours of free time to linger at the MFA.  I live more than an hour from the MFA and usually it’s a race through to see everything I want before heading back home.  Never enough time to linger.  Now I will have hours to dally and it is heaven.  First I visited a favorite Neil Welliver painting they have in its own nook, the Sargent Rotunda Niche: http://www.mfa.org/collections/object/goulds-hill-34175

Then off to the Art of the Americas wing to see the Jasper Johns print exhibit.  Here’s a picture.  Mind you I’m not sure if I’m supposed to post pictures from the MFA here, but this is in the hopes of enticing  more people to go.

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Jasper Johns lithograph, 0-9.

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Jasper Johns, Untitled.  First etchings, second state. 1967-1969.

And this is a similar print, but it’s Jasper Johns meets Art Nouveau.  Completely unexpected.  This small print show revealed that John’s influence runs deep in my work.

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Here he’s working with liquid graphite.  It’s often little details like the gooey edge where the cream paper is mounted to the white backing paper that get me excited.  These things often don’t show up in reproduction, and are one of the reasons why it’s important to see original work whenever possible. I’m forever peering at the sides of the canvas to see if the artist painted those as well.

Which brings us to Shinique Smith, who painted the sides of a trio of canvases in bright primary colors that sizzled on the walls of the Henry & Lois Foster Gallery.  I didn’t like everything Shinique did, but she’s young yet and I liked enough to warrant further attention.  Bold and brash is great, but sometimes I want more depth.  I think she has that depth, but it could be developed further.

http://www.mfa.org/exhibitions/shinique-smith

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Progress

Spent the morning recarving the Islamic tile pattern, but not without first looking over my studio journal.  I couldn’t help but notice that some of those images and combinations have a life and energy that is lacking in my work lately, and it immediately brought to mind Professor Jim Coates quoting David Ireland: “You can’t make art by making art.”  A koan for an artist to be sure.  You could also say that art is the byproduct of the attempt to make art, but not necessarily the direct result.  That in fact trying too hard to make Art with a capital A, can rob it of its soul and stop short of its potential.

All these secondary thoughts are my own and not necessarily the fault of Prof Coates or David Ireland.

Voyezagauche

This print is more or less what I was trying to do today, although in retrospect I’d like to reverse the image, which will work just fine with stamping the figure directly onto the paper instead of using the gelatin plate to transfer as I’ve done here.  You can see the difference in the figure below.  The carved linoleum plate of the figure below is stamped onto the paper.  Above, the same plate is stamped into a gelatin plate and the ink smears a bit when I press the plate into the gel.

fragment

Also, on the scrap above the pattern is printed over rather than under the figure. Below are 2 images from my studio journal.  Probably from about a year ago, perhaps I should date the pages from now on.  There’s something here that reminds me of Louise Despont talking about making the “mistakes that need to be made.”

journalleft Journalright

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Akua Intaglio Ink

Giddy with joy, a shipment from Dick Blick arrived carrying a new set of Akua Intaglio inks, a Berol Prismacolor set of 36 colored pencils, some Canson Johannot paper and, somewhat more randomly, cerulean blue watercolor ink (Holbein) and white gouache paint.

Because those are just staples, n’est-ce pas?

Oct1

I’m participating in a 30 day challenge that my friend Ellen Olson Brown has been kind and ambitious enough to host.  So this print is day one- a print a day.  My gelatin plate is old and grungy- I’ve been using it all Summer and it even has bits of fern stuck in it from trying to add plant matter to a card for a friend the other day.  The purple ink behaved in a surprising manner with the stencils, as if the water in the plate resisted the ink a bit.  This did not happen with the scarlet red, which I attempted to damp down with some yellow ochre.

I’ll be making a new plate shortly but as I’m helping install a multi-media exhibit tomorrow (Mutherer by Denise Dumas), I won’t get to it until Friday.  If I can squeeze it in on Thursday I could at least print on Friday with the new and larger and hopefully cleaner plate, we’ll see.