“I recently completed “Edge of Alchemy” an animated film and this print builds on some of the energy and concerns of that project. For me “Vital Signs” refer to the generative aspects of existence, the basic elements of life. The print suggests their dynamic presence, and also expresses some dismay at how we’ve compromised the balance inherent to sustaining a healthy future.” Stacey Steers
“Vital Signs” is a five color lithograph with digital collage printed from five aluminum plates made from the artist’s drawing/painting and photocopies on mylar. The edition of 25, plus proofs, has been hand printed on handmade Amate paper 30 x 22″. Archival pigment prints were printed on white IJ Niyodo paper by Infinity Editions, Arvada, CO, and hand-cut and collaged.
Carswell describes his work: “My work has often been described as belonging to a category of ‘reductive, geometric abstraction’. In the last decade however, I have been intentionally, slowly reshaping what constitutes my working model to incorporate more surprise and imaginative play. While my work remains what some would call ‘abstract’, image and representation have become more apparent.”
“Orbelus” and “Root” are products of this drift into a spirited and humored abstraction- grounded by his interest in design, comic graphics and a subjective, notional, visual “reality.
“Root” is a sixteen color lithograph printed from eight aluminum plates on white Rives BFK paper, 26 x 30½ inches in an edition of 25, plus proofs.
“Orbelus” is a twelve color lithograph and pochoir printed from five stencils and seven aluminum plates on white Rives BFK paper, 26 x 30½ inches, in an edition of 25, plus proofs.
“Aliens Sans Frontièrs” is a nine color lithograph hand printed on handmade Amate paper in an edition of thirty, plus proofs. It was printed from nine plates made from mylars hand-drawn and painted by the artist using toner washes, acrylic paint and pencils.
In this codex I have made multiple self-portraits as male and female ethnic stereotypes portraying African, European, Mexican, Brazilian, Asian and Middle Eastern characters. I use my own face in the portraits to show that under any ethnic stereotype is an individual and that we are all from the same species. I do this with some sense of humor but without trivializing the seriousness of the subject.
I recently had my DNA ancestry researched and I learned that I have genes from Native American (from Central Mexico), European, Ashkenazi, Middle Eastern/North African, Sub Sahara African, and East and South Asian ancestors. This may be a partial self-portrait of my genetic makeup within my DNA.
“Morning, Noon, Night” is a thirty color lithograph with gold leaf, hand printed on white Rives BFK paper from eighteen plates made from mylars hand-drawn and painted by the artist using toner washes, acrylic paint and lithographic crayons and pencils.
“Two years ago I painted a huge painting of camellias and cacti on transparent fabric to install at Hakusa Sonso Museum in Kyoto, Japan.
One year ago I made a smaller version on canvas which depicted only camellia flowers and branches. Bud and Barbara Shark saw it when visiting my studio last November. We had talked about doing a new print, and Bud immediately suggested working with this entire image. It was a bold and ambitious proposal. It took me a little while to get used to the idea, but I did and so we worked and worked and worked on it this last August at Bud’s studio in Lyons, Colorado.
We made 18 different litho plates, some of which had as many three different colors on them. I used tusche, xerox toner powder, litho crayon, water, salt, sugar, various resists and block outs to create the plates. Proofing and color selection was complex but it all went smoothly. As we got near completion, adding the blocks of deep blue and blue violet, we all got excited at how good it was looking. The last step was the horizontal stripe of 22 K gold leaf and with that the whole image pulled together and the colors started singing to each other.”
Buck’s large format woodcuts often deal with current issues of our world. In “The Cat” a jaguar walks past an array of mythological creatures unaware of its fate as a threatened species.
“The Cat” is a nine color woodcut printed from four woodblocks hand-cut by the artist with hand-coloring. The edition consists of 15 numbered impressions, plus proofs, on White Thai Mulberry paper, 37 x 74¼ inches.
We are pleased to announce the publication of Barbara Takenaga’s lithograph “Falling (1115)”. Takenaga’s print evokes the rich colors of the night sky, meteor showers and other astronomical events.
The American poet and writer John Yau eloquently writes of Takenaga’s work in his catalog essay for her exhibition “Waiting in the Sky” in April 2016 at DC Moore Gallery, New York:
“Takenaga uses abstract signs to construct softly glowing domains. Often the signs become illuminated forms that are carefully articulated but whose meaning we are unable to grasp – there is something unmoored about these structures. We don’t know where in space, or in what context, to place them, and we find ourselves asking: are we floating, or ascending, or falling? We are surprised, enthralled, and disturbed. At the same time, we are thrown back on ourselves, left with the question: what is that I am seeing? I find this exhilarating.”
“Falling (1115)” is a ten color lithograph printed from six aluminum plates made from mylars drawn by the artist using brushes, acrylic paint and toner washes. The edition consists of 30 numbered impressions, plus proofs, on White Rives BFK paper, 28¼ x 22¼ inches.
In the Andean cosmology, the Ñusta is the feminine spirit of the mountain. She is the most luminous and highest expression of Pachamama, the Mother Earth. Regal, abundant, she is unstoppable in her elegant power.
For years I have been painting flowers, attracted always to their graceful beauty, their reminder of how glorious a life can be, and death a dignified and certain affair. Immersing myself in their forms, to follow their lines, the little movements that make a pose, the color we can invent together, gives me pleasure.
And what better to give to the Ñusta than flowers?” Ana Maria Hernando.
“Flores para la Ñusta I” is a five color lithograph with cut outs, printed on white Rives BFK paper 40¾ x 27” in an edition of 30, plus proofs.
“Flores para la Ñusta II” is a six color lithograph with cut outs, printed on white Rives BFK paper 40¾ x 27” in an edition of 30, plus proofs.
In “Ink is King”, an Oni (a Japanese folklore demon) is seen riding a koi fish on a wave. This demon brandishes his ink stone and brush, conjuring up a wacky mess above… two calligraphic Chinese ideograms (“ink” on the left and “king” on the right) floating in a purple cloud.
“Ink is King” is a five color lithograph printed on Magnani Pescia Crème paper 30 x 22” in an edition of 30, plus proofs.
In “Man’s Ruin”, a nurse is portrayed as a wolf, two iconic images often seen in tattoo flash. Below the wolf are two brightly colored birds blindfolded by love and hate.
“Man’s Ruin” is a four color lithograph printed on handmade Amate paper 18½ x 15” in an edition of 25, plus proofs.
The White & Black Set is a ten color woodcut/lithograph with chine collé and collage. It was printed from six woodblocks and two lithographic plates on white Thai Mulberry, white Rives BFK, grey An Jing Meteor Shower, bright yellow Korean Hanji and blue Yatsuo papers.It has been printed in an edition of 30, plus proofs and measures 29½ x 35 inches.