“In “Moscow on the Seine” an unknown person in a bear skin strolls across a background of Russian political and historic figures and architectural sites. Among the images, a bare-chested Putin rides a horse that tramples a man while a woman offers Putin a crown. Buck was inspired by an illustration of the Russian holiday, Maslenitsa, a celebration that dates to the 18th century. “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.
The American Bison, or buffalo as it is commonly known, symbolizes wild nature and western culture. Buck’s “Cannonball Creek” depicts the toll taken on native peoples, the land and wildlife they depended upon. From railroads to pipelines, we see in this print a tragedy on a staggering scale motivated by unrestrained resource exploitation for commercial purposes and misguided U.S. Indian policy. “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.
“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.