Capilano U print sale

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It’s that time of year again, even at the Studio Art printmaking department at Capilano University’s North Vancouver campus! The ever-popular Annual Print Sale is next Wednesday, featuring intaglio, relief, silk screen and digital prints created by students, Art Institute members and faculty in the Studio Art program. If you live in the Vancouver area, please come and support the students and get some reasonably priced original artworks for some lucky people on your gift list, including yourself!
Here are directions to Capilano University in North Vancouver. Note also the campus and parking maps.

back pats

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1. Congratulations to Mark Woods on Wood s Lot’s 10th anniversary of blogging marvelous excerpts and links to interesting and eclectic writings and art. I also enjoy his lovely photographs of areas in eastern Canada that have been gracing his pages in more recent years. A remarkable achievement in this day of waning blogs as many move to the more fast-paced life of Facebook and Twitter. (Can you tell I’m a proponent of the ‘slow life’?)

2. Congratulations to the award winners of BIMPE VI in Vancouver. After its opening exhibition at the Federation Gallery, a selection is now showing at Dundarave Print Shop. I recently saw a friend’s copy of the exhibition catalogue and it is beautiful. I was very pleased to see in it that all of my three submitted pieces were accepted. I can hardly wait for my own copy which will come with the return of the prints after they’ve been in Edmonton.

3. This is late: a print of mine was posted at Qarrstiluni. The current theme of The Crowd was impossible for me to resist as I’d done several prints by that title some years ago. Watch for another one to come later. I must say Qarrstiluni keeps on getting better and better thanks to the superb efforts of its editors Beth Adams and Dave Bonta and the many guest editors. I see that it just recently and quietly passed its fifth anniversary – another congratulations!

BIMPE VI exhibition

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Design: Cloe Aigner, Print: “Bite your Tongue” by Jen McGowan, intaglio

Everyone is invited to the opening for The Sixth Biennial International Miniature Print Exhibition (BIMPE) on Saturday, September 11th, 2010 from 6 to 9 pm. at the Federation Gallery on Granville Island, 1241 Cartwright Street, Vancouver, BC.
As the BIMPE site explains:

The Biennial International Miniature Print Exhibition (BIMPE) is held every two years in Vancouver, British Columbia. This exhibition is a showcase for small scale works measuring no more than 15cm × 10cm, and is open to images made using all printmaking techniques from traditional line etching to contemporary digital processes.

I’m very pleased to have my work chosen along with that by numerous (about 200?!) other artists from around the world. Many of the names are known to me, a few I know personally such as the artist whose delightful print was chosen for the invitation above. As I’ve mentioned before, I rarely do small works so this year it was a timely opportunity for me to support this local biennial of prints.

This exhibition will be at the Federation Gallery until the end of September, then moves for the month of October to Dundarave Print Workshop, also located on Granville Island. In November, it travels to Edmonton’s SNAP Gallery.

UPDATE October 30th, 2013: While cleaning up dead links on old posts, I have discovered BIMPE now has its own site with pages for each biennal. Check out the fantastic PDF version of the catalogue!

art & garden busy-ness

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I wish you could smell the heavenly scent of these first lily-of-the-valley flowers from my garden. The next virtual sense to come one day via the web?
 
I’m still busy in the printmaking studio finishing up work, then about to clear out my space for the summer break beginning in a week’s time. My small home studio is in chaos as I try to find storage room for the new pieces I’m bringing home. Anyone selling second hand flat files that would fit under my work table? Maybe I should have a ‘fire sale’ to sell off old work to make room for new?
 
I was also busy getting a submission package of miniprints ready and delivered to the BIMPE VI International Print Biennial right here in Vancouver. It is the first time I’ve submitted because I so very rarely do small enough prints! I’m happy to support them and hope the jury accepts some or all of my work. If you are a printmaker reading this and interested in taking part – and I know this is late notice – the deadline is May 1st.
 
At home it is the busy spring gardening season especially with transplanting the tomato, pepper, cucumber and flower seedlings and cuttings into larger pots whenever the weather allows, like today. Still a few more seeds to start. It seems the nicest days occur when I’m in the print studio, why is that? Ah well, soon I’ll be complaining of too much gardening and not enough art!
 
And I must see some exhibitions this week before they come down, especially this Leonard da Vinci one for he is one of my very favourite artists. Entry was free during the Olympics but I didn’t want to deal with the long lineups. So why do I leave it ’til almost the last minute?
 
Too busy to blog, read and comment much lately, but I found this timely Letter from Reykjavik to be very much worth a visit!
 
EDIT April 22nd, 2010: In some correspondence yesterday, a friend wrote:
Believe it or not, people have been trying to digitize smell for a number of years, apparently with some success. You can read about their efforts here.
Thanks, Michael!

little test prints

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It’s been quite some time since I’ve shown any of my printmaking projects. I still haven’t uploaded the series I finished in the fall and in January…. soon, I hope. So readers might be interested in these little test pieces that I did a while ago.

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Wanting to try out a special technique called chine-collé, as well as have a little fun, I chose a small collagraph plate I had from earlier tests and some sections from older inkjet proofs to print onto. I tore small pieces of very thin inkjet printed papers, applied special glue on these and placed them on the inked collagraph plate just before it was run through the press.

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I learned that the inkjet colours of these particular chine-colléd papers were not waterfast but they were still fun little pieces to do while learning a few new things. Later I experimented with prints from another printer with waterproof inks that worked better though I didn’t like the images as much.

These are shown here about life size.

William and Kate Blake

I have just finished reading a fascinating book about a famous artist-printmaker-poet and his wife. As a printmaker, I found this passage particularly intriguing to find in a historical novel:

William and I began to be real partners in Printing. He had been teaching me for a long time to assist him at the big wooden press. It was not usual for Engravers to keep Copper-plate presses in their houses, so we were proud of ours. It stood six feet tall, made of sturdy polished oak.

There were two other important tasks which went into Printing. One was the preparation of Paper, and the other was of Ink.

“We must print on the best paper we can afford,” William always said.

So we bought wove paper from James Whatman, which was heavier than ordinary paper and did not have the chain lines that usual papers showed from the mould in which they were made. We dampened our sheets of paper the day before we were to print, passing five or six leaves through a flat tub of water two or three times, and then stacking them on a flat board to keep them very smooth.

Ink was a big part of our lives: it was messy, but I loved it. We used to make our own, mixing powdered pigment with burnt linseed oil. Burning the oil was a smelly business. First it was boiled, and then set on fire. This made the oil properly stiff to mix with the pigments. Then we would grind the oil and pigment on a marble slab till it was the right thickness.

The colours of inks were wonderful. At first we only used blue-blacks or brown blacks, but later when William produced his own books, we used red ochre, yellow ochre, raw sienna, burnt umber, Prussian blue. William taught me how to ink a plate with a linen dabber and to wipe off the plate’s surface with the palm of my hand. What a mess! The Print is a Marriage of ink and paper, as Engravers always say. Or it is a baby, born from the marriage, under blankets on the Bed of the press. We hung the prints up to dry on a clothesline, like baby clothes.

This is quoted from pages 80-81 of Other Sorrows, Other Joys – The Marriage of Catherine Sophia Boucher and William Blake by Janet Warner. Here’s a good description of the book.

The story, mostly in the voice of Kate Blake as she was called, is part fiction, part fact and reveals the challenges of her marriage to this famous artist, her devotion to helping him in his work and how she became an artist herself but without the recognition as was often the case back then. The book includes many images of Blake’s work and interesting historical times and characters too! The late author Janet Warner’s web site* reveals that she was a university professor originally from British Columbia and had written an earlier book on Blake. I enjoyed the site with its brief bio, excerpts from the book and a few links.

This book was certainly a serendipitous find when I was in the library unexpectedly one day last month but without my reading wish list. I’ve always been intrigued by Blake’s work, even blogging about it once, so it was great to read about the challenges he met, with his helpmeet, in earning a living while still trying to remain committed to his own visionary work.

UPDATE October 5th: I’ve just come across this in my morning net wanderings and it feels too too related not to mention: Mad genius: Study suggests link between psychosis and creativity.
What do you think?

* Update Nov.16, 2013: Link has expired and has been removed.

Michiko Suzuki: Flicker of Life

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I’ve written about my friend and fellow printmaker Michiko Suzuki several times here but I missed telling you about her most recent solo exhibition Flicker of Life ~ Selected Works (1993 – 2008) held at the Penticton Art Gallery in Penticton, BC. She now has a lovely slide show of it that I think you will enjoy, just click on slide show. What a beautiful space and Michiko’s work looked fantastic there!

Also, you may like to read her exhibition statement on the gallery’s site.

And here’s more about Michiko in my earlier posts:
August 2004
October 2005
September 2006
October 2006
April 2008
(UPDATE April 8th, 2009: The link to the slide show is now fixed. Please try it and let me know if there are still any problems viewing it. Thanks to J for spotting the error!)
UPDATE August 3rd, 2012: The exhibition is now also viewable in video.

hands, still

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detail from ARKEO #1

Dave Bonta’s The Animators is an amazing dream story of cavemen creating images of their hands on rock walls. It’s given me an inspirational push to finish a post that’s been on my mind for a while.

I keep thinking a lot about hands and what they do. Hunt, plant, gather and eat food. Cook, clean, sew, build. Touch, hold, caress, massage, love. Hold tools to make, write, create, play. And print and paint hands on rock walls.

As regular readers know, I’m fascinated and inspired by the art of early humans. I’ve written about how common hands in rock art are in many parts of the world, including in Borneo.

In recent weeks, I’ve been also astounded by images of disembodied puppet hands at the Marionettemuseum in Salzburg, Austria, hands of the puppeteer (scroll down the page to see Tina Modotti’s photo), some gloved mannequin’s hands and a digital stop sign with a hand.

In my own work, I’ve experimented with scans of my own hands and have made collagraphs of them to use in one of my prints. Eventually I even printed my own hands directly on prints. And finally, there are the most recent examples using my own hands again in ARKEO #1 and ARKEO #2.

Michiko Suzuki exhibition

An exciting exhibition featuring the printmaking of Michiko Suzuki is coming up this week!

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Michiko Suzuki: Floating World 1 (Time Like Air)

FLOATING WORLD
April 24th to May 24th, 2008
Opening reception Thursday, April 24th, 6 – 8:00 pm
Bellevue Gallery
 2475 Bellevue Avenue, West Vancouver, BC

These excerpts from the invitation brochure say it best:

Michiko Suzuki is a Tokyo based artist active in Japan since 1975. In 2002, she was invited as a visiting artist in the Printmaking department at the University of Alberta, and then in 2003 was invited as the first artist-residence in the printmaking department of Capilano College, N.Vancouver, BC. There she worked on a collaboration with printmaking faculty Wayne Eastcott. They exhibited the results in 2003, 2005, and 2006 in Tokyo, Japan and Vancouver, Canada.

She immigrated to Canada in 2006 (permanent residence status) and is living and working in Greater Vancouver. This is her first solo exhibition at a commercial gallery in Canada.

This exhibition’s title “Floating world” comes from the Japanese UKIYO-E (referring to Japanese traditional wood cuts). It means “Picture of the present”. UKIYO literally translates as, “Floating world”. Therefore, the theme is “Present life looks like a transient dream.”

Suzuki’s work is based on her perception of a world in which the sense of space and distance is shrinking, not only in the physical world but also in terms of the mental space that people tend to inhabit in a fast-paced urban society. She considers that the demands of contemporary life leave too little space for meditation, or the possibility of contemplating the present moment, resulting in humans being out of balance. As a response to this condition Suzuki incorporates empty space within much of her recent works. (Richard Noyce)

For that reason, Suzuki composes works that include elements of the past, present and future. She also employs another dimension (surreal image) that fits well with her work’s space, and deals with the connection between Reality and Illusion.

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Michiko Suzuki: I Am Suddenly Transported Here

More examples of Michiko’s work may be seen on the Bellevue Gallery site under ‘Gallery Artists’.
Michiko is a friend and a fellow artist working in the same printmaking studio. She has been a subject of several blogposts here regarding her collaborations with Wayne Eastcott:
August 2004
October 2005
September 2006
October 2006

print artists

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Amie Roman: Justice (after Allward), relief print.

As a print artist, naturally from time to time I write about printmaking and about the work of other artists who make prints. (If you are new here, check out the archives under the theme of printmaking.)

For a few months now, I’ve been reading the blog of a printmaker who happens to live in the same part of this world as I do. Amie Roman is based here on the west coast of British Columbia, working mostly in relief techniques, and writes an interesting blog about her processes and inspirations at Burnishings. Have a look at her lovely work which, she writes, ‘reflects upon the natural world and the irony of progress.’ I love her crows, and her latest piece above which she has kindly let me put up here.

Amie is doing an amazing amount of work gathering together information for another site that she calls Squidoo – All about Printmaking. Included is a growing list of blogs and sites by artists who are either printmakers or who discuss printmaking.  If you’re a printmaker and you’re not on this list yet and would like to be, she’d be pleased if you contact her with your link to your site (either a blog or a website).

Congratulations and a big thank you for all your hard work for the printmaking community, Amie. Happy printing!