Publishers of contemporary prints
We are pleased to announce a new lithograph by Miho Morinoue.
Deluvium or deluge is a large-scale lithograph depicting a scene where myth and reality co-exist and co-mingle in the moments preceding a great cleanse. Both dark and whimsical, the narrative explores the relationship between human beliefs and civilization as they relate to the enveloping force of nature that sustains or destroys them.
See the video.
We are pleased to announce a new color woodcut by Hiroki Morinoue.
Morinoue first observed the Brazilian rainforest in 1997 when the exhibition he designed, The Kona Coffee Story: Along the Hawai’i Belt Road, was shown in Sâo Paulo.
In this new print, the artist honors the rainforest in Brazil. The Amazon is home to an estimated 16,000 tree species and is the world’s largest rainforest. But in the last 40 years at least 20% of it has been destroyed.
“Brazilian Rainforest” is an eleven color woodcut printed from eight woodblocks carved by the artist.
We are very pleased to announce Enrique Chagoya’s new lithograph “Everyone is an Alienìgeno”.
We are very pleased to announce the release of two new Claire Sherman lithographs, “Tree and Water” and “Underbrush”.
Sherman’s paintings and prints propel the viewer into a claustrophobic and unstable world through a perspective that shimmies between representation and abstraction. Her works reference idealistic visions of the sublime, while the medley of imagery presented eliminates the need to identify the actual places – these works do not seek to portray a specific view or experience. They address the ubiquity of imagery we associate with the genre of landscape, nullifying a sense of particularity.
We are pleased to announce four new John Newman lithographs, “Head First”, “Second Head First”, “A small monument to Heliotropism” and “Looking through to ‘Light and lace-maker”.
These prints are both specific in formal design and yet elicit a wide spectrum of responses – they ask to be interrogated, mediated upon, and, marveled at.
“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”.
We are very pleased to announce the publication of a new Enrique Chagoya lithographic codex The Ghosts of Borderlandia.
“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.
We are very pleased to announce the publication of two new John Buck woodcuts, “Moscow on the Seine” and “Cannonball Creek”.
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.