“The looking through, the rainbow roll, the spatial ambiguity in “A small monument for Heliotropism” and “Looking through to ‘Light and lace-maker” are as much a consequence of lithography as they are of rendering a fictional space where the image of a sculpture appears.”
A Single Joy of Song is Betty Woodman’s last print. We began discussing this project with her in 2016. She sent a large three part study that would make a wonderful woodcut. Betty made plans to come to Shark’s Ink. to begin work on the triptych but had to postpone the visit. We picked up the project again in November 2018 while Betty was in Italy. She said we should start cutting woodblocks and proofing colors. We sent her proofs in Italy and had numerous phone calls and emails as the work progressed. She was pleased with the way the print came together.
Betty returned to New York and we were close to finalizing the woodcut when she went into the hospital and died January 2, 2018. We received permission from her son Charlie Woodman and the estate to make the final changes we had discussed with Betty and to complete the edition.
A Single Joy of Song is a twenty-color woodcut/lithograph with chine collé hand printed on white Thai Mulberry and white Rives BFK paper from fourteen woodblocks and three lithographic plates approved by the artist. A Single Joy of Song has been printed in an edition of 30, plus proofs, 27 x 70½ inches and is estate stamped “WOODMAN”.
“The imagery in this codex refers to the borders that people build between themselves. In The Ghosts of Borderlandia, people’s eyes are hidden behind a wall or underground to symbolize the lack of sight that borders create. The invisible borders create stereotypes that dehumanize the “other” and creates an “us vs. them” context. There are physical and invisible borders. They may be between social classes, genders, religions, ethnicities and cultures. Viewers may discover some recognizable artists and stereotypical characters in front and behind the wall.” Enrique Chagoya
The Ghosts of Borderlandia is an eleven color lithograph with chine collé, printed from nine plates. The plates were made from mylars hand drawn and painted by the artist and xerox copies of found material. The codex has been printed on handmade Amate paper with white Thai Mulberry chine collé, 15 x 80″ in an edition of 30, plus proofs.
New John Buck woodcuts
“Moscow on the Seine” is a fourteen color woodcut printed from four woodblocks and one pochoir stencil on white Thai Mulberry paper in an edition of 15, plus proofs. The print measures to 28¾ x 46 inches.
“Cannonball Creek” is a six color woodcut printed from three woodblocks on white Thai Mulberry paper in an edition of 15, plus proofs. The print measures to 25½ x 40¼ inches.
Yvonne Jacquette is well known for her images of urban landscapes at night as seen from a high perch. She also creates compelling images of the landscape and the sea from the air or atop hills or mountains. Her newest print is a view of the Maine coastline seen from Northeast Point. She depicts the wind patterns on the water and sailboats moored near Camden.
Ocean View Wind Patterns, Camden Maine has been printed in eleven colors from ten aluminum plates hand-drawn and painted by the artist in an edition of 30, plus proofs, on White Rives BFK paper, 24 x 33¾ inches.
We are pleased to announce the new publication Ultimate Metallic Suit by Teresa Booth Brown.
The artist describes this project:
In painting, collage, and printmaking, I provoke moments when representation and abstraction become unstable or collapse altogether, when two dimensionality becomes three, when solid becomes fluid, when the familiar becomes strange.
I set myself the challenge of structuring a tension between the conceptual and the concrete into each piece. Fragments of photographic imagery pull the viewer into moments of recognition while flat, geometrical fields of color insist on the materiality of the ink, paper and its composition.
Ultimate Metallic Suit is a four color lithograph with digital collage and chine collé printed from four aluminum plates made from the artist’s drawing/painting on mylars. The edition of 20, plus proofs, has been hand printed on white Rives BFK paper 30 x 22″. Archival pigment prints on white IJ Niyodo paper were printed by Infinity Editions, Arvada, CO, and hand-cut and collaged.
“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.
“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.
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.”