my Monday

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After breakfast, I took my tea with me and sat down at my computer to read emails, some news and a few blogs, as I usually do most mornings if I don’t leave the house early for the printmaking studio or an appointment. Today, I wanted to make another collagraph for my ongoing Silent Messengers print series. I wrote about one of them a while ago, in case you missed it.

I had an idea of what I wanted but needed a little inspiration to clarify it. I decided to have a look at The Bradshaw Foundation website, and was excited to find some new additions to the already rich collection of rock art images from around the world. Some of the Baja, California petroglyphs seemed along the line of what I was after, so I started sketching my own idea.

From time to time, I looked out the window next to me and noticed that it was snowing big fat white feathers! This kept on going all morning, though melting on the ground. I could not resist taking a few photos. I think the one above of the wet snow on a skylight is rather interesting, even though I’m not impressed with this weather this late in February!

Later I moved into my little home studio to make the collagraph. First cutting some matboard into the desired shape, I then began slowly cutting and gluing paper shapes including crinkled tissue paper onto it. I used acrylic medium as a fixative as well as coating all the surfaces including the back. Tomorrow, I’ll have another look at it, and will add more detail if needed and more layers of medium. I found a way of applying gloss acrylic very smoothly onto areas that I want to wipe clean (ie. white) when I ink it for printing. On Wednesday I hope to print some proofs of it. Wish me luck, and maybe I’ll show you how it develops!

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handprints

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Moving on from my initial studies of hands by way of scanning, I played around with ways of taking an impression of my hands.

I decided to try making collagraphs using acrylic medium on matcard pieces. I applied the medium using thin coats and thick coats and several types and brands of acrylic medium. I pressed my hands into the medium, from very wet, to almost dry. It was hard to get a very fine impression that was printable. The last two tests have a moderately thick layer of gel medium, allowed to dry slightly. Pressing hands into the medium still squished it around but with some additional drawing and manipulating, I achieved satisfactory impressions.

Shown here are scans of the initial proofs of the two plates printed on white paper. The print below is a section of the slightly larger print, too big for my scanner. Today, I printed these two plates on top of a much larger inkjet print of another image and was quite pleased with the result. Now this piece, another one of my ‘Silent Messenger’ series is almost ready to edition. Progress. And I feel better!

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In case you are wondering – What is a collagraph?

Dream Anatomy

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Aboriginal “x-ray style” figure. Kakadu National Park, Northern Territory, Australia. Rock painting, ca. 6000 B.C.E. © Archivo Iconografico, S.A./Corbis

Hot on the heels of our most interesting visit a week ago to BodyWorlds, I’ve just come across in my bookmarks another anatomy based exhibition online, called Dream Anatomy. Put together by the US National LIbrary of Medicine, it is a more traditional and historical exhibition that demonstrates how the study of anatomy melded science and art. There are many interesting pages to peruse and a large gallery of images to view.

My own interest in prehistoric art and culture is piqued by this page which includes the above image:

Fascination with the interior of the body goes back to the dawn of humanity. The ancient Egyptians had specialized knowledge in some areas of human anatomy, which they used in mummification and, to a limited degree, surgery. Even before the advent of large organized cultures, prehistoric peoples performed rituals with remains that indicate familiarity with gross anatomy. Because they hunted and slaughtered large animals for food, the Inuit and Australian aborigines, developed a detailed knowledge of mammalian anatomy, and a complex vocabulary of anatomical terms, which they applied to animals and humans. Rock paintings dating back to the Neolithic in Europe, Africa, and Australia show schematic and expressive representations of the human interior, as do some European, Islamic and Asian pre-modern manuscripts.

And of course, as a printmaker I enjoyed reading about the technologies of anatomical representation, which mentions the use of many printmaking techniques.

trial proofs

I’ve had several readers express an interest in seeing the development of a print after I wrote about my excitement when the first proofs came through the wide format inkjet printer. This feeling is true no matter what type of prints one works on, from the wooden-spoon-rubbed linocut one does in grade school to the finely etched copperplate, and other printmaking media. Proofing is an essential process as I hope you will see in the following descriptions and photos. The photos are of the same piece shown in detail in the above linked post.

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The first photo shows the first trial print that I took of a collagraph that I made to be printed on top of an inkjet print. This one is printed on plain white art proofing paper.

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The second photo shows the collagraph printed over the top of the first proof of the inkjet print of the rocks, done on non-coated art paper. The inkjet print looks washed out.

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For the third proof, I switched to a coated inkjet paper for the rock print. Do you see how the colours just pop out and the blacks are deep and velvety (okay, the photo isn’t that great.) I printed the collagraph on top of this, paying a great deal of attention to how it’s inked and wiped, compared to that first proof.

I’m quite excited by this one. In fact, I realized that it is a complete piece without a printed transparency layer over it which I’d originally planned to do (and have been doing with the earlier Silent Messenger pieces). The work spoke to me just the way it is, and I had to respond to it, rather than forcing my initial plan on it.

Because I was having problems with the inkjet paper tearing a bit on the embossings in the collagraph, I’ve been doing numerous tests to figure out how long the inkjet printed paper had to be soaked in water, the ink consistency, and the pressure of the printer roller. Of course, us artists are always the first to try something different with new material, in this case to subject papers meant for inkjet printers to the rigours of a highly embossed collagraph and a traditional printing press!

Today, I had a breakthrough, so now I will be able to carry on and edition the first two of the series that are ready. That may not be until January as I will be taking a break from the studio over the holidays.

Readers, I do hope this gives some understanding of the process. Please feel free to ask questions!

print sale ’06

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The Studio Art printmaking department at Capilano College is holding their always popular Annual Print Sale, featuring intaglio, relief, silk screen and digital prints created by first and second year students, by artists in the Art Institute and faculty members in the Studio Art program. Do come and support the students and get some original artworks for some lucky people on your Christmas list!
That’s tomorrow! Tuesday, December 5th, 10 am to 4 pm.
Studio Art Building, Room 104
Capilano College
2055 Purcell Way, North Vancouver

Peter Frey exhibition

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I am very pleased to introduce friend and fellow-printmaker Peter Frey. Peter is presenting Threads and Fissures, an exhibition of his photographs and prints at the Capilano College Studio Art Gallery.

Opening reception: Thursday, November 9th, 4pm – 7 pm.
Exhibition runs November 9th until December 5th, 2006
Gallery hours: 8:30am – 4:30pm Monday – Friday
Capilano College Studio Art Gallery
2055 Purcell Way, North Vancouver, BC
A Google Map for directions.

Here is Peter’s artist statement:

I began expressing myself through art quite late in my life, when I was living in India, where I studied and practiced a form of yoga called Darshan Yoga – Yoga of Perception. Ideally, when one is in a state of perception, one is fully engaged and the thinking mind is quiet and the exquisite richness of life, the inner and the outer world have an opportunity to touch us.

For about 4 years in India, the photographic camera took me from the inner world of meditation outside into fields, villages and mountains. Photography became a means to look at and admire the world in a simple and direct way. When I left India, I began to study photography in a formal way, both in New York and later in Chicago, and my work became more self-reflective. I began to include my own body in the work to speak of the relationship between the self and the world, between the inner and the outer.

I have chosen for this exhibition a few works from that period. Most of the work shown has been made since becoming a member of the art institute here at Capilano College.

I have used the word ‘threads’ for one of the names for this show to indicate the idea that there are common threads, or themes linking together these pieces, which span a period of about twenty years. But the threads that link and hold together, that hold my attention fully engaged in my creative work, sometimes break.  These threads that link become the fence that separates, what has been flowing easily is interrupted, what has been whole breaks – and I am disappointed. But there is an other side to such breaks, fissures, cracks, ‘mistakes’, which is perhaps expressed when we speak of breakthrough and which Leonard Cohen has so beautifully put in this line:” there is a crack in everything, that’s where the light shines in”. A crack is also an opening.

Recently I attended a sweatlodge, where volcanic rocks, heated in a fire, are used in the lodge. One of these rocks, redhot, had a crack halfway through, and it was through that crack that the red glowed with the greatest intensity. In a way the material disappeared and only the light remained, and one was able to look deep inside. Just like the intense glow of this rock soon dimmed, moments of creative intensity, of deep connectedness, of glimpses deep inside the fabric of something, rarely last very long and the sense of loss, the breaking of this connection, this fissure, I think can be seen in some of the figures that appear in my work.

A word about my choice of materials and medium:
Printmaking provides a means to create very fine textures. For my eye, fine texture acts in a similar way as very fine fabric, it is sheer and does not cover. Like a veil it allows us, hopefully, a chance to see a little inside, behind the surface, behind the picture plane. In this way I also see the series of leaves shown here less as forms and more as openings, or windows through which one might gaze into a landscape that is at once minute and very large in scale.

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Spontaneous Alchemy: OM/MO 2002. ©Peter Frey, monoprint

UPDATE Nov.9th: We’ve just come back from the opening. It’s a stunning show with a large body of work, consisting of photographs, mixed media works and inkjet prints. If you are in the area or coming to town, do come see it! Here’s Peter next to his piece Leaf from Petals/Reversal, an inkjet print with coloured pencil:

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The Relief Print

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Gravity by Shinsuke Minegushi, woodcut & wood engraving, 30 cm x 81 cm., 2000

An exhibition of relief prints is now up at the Burnaby Art Gallery. From the website:

The Relief Print 
October 24-November 26
This exhibition of woodcuts, wood engravings and linocuts culls rarely displayed treasures from the extensive collection of the City of Burnaby Permanent Art Collection and SFU’s Malaspina Archives.

Also, five invited artists, each with a distinct style and purpose, show that this old, assertive art form has lost none of its appeal, to both creators and viewers. Shinsuke Minegishi’s elegantly combined woodcuts and engravings detail nature’s minutiae and a structured balance of Eastern and Western aesthetics. Jim Rimmer’s linocuts, boldly and honestly complementing his limited edition books with custom-designed type, forge an unbroken link back to Gutenberg. Graham Scholes, luminous, intricate Moku Hanga woodblocks depict BC’s disappearing lighthouses in a careful and caring achievement of historic and aesthetic value. Richard Tetrault’s linos and woodcuts of the Downtown Eastside meld socio/political concerns and activism with sheer visual beauty and a muralist’s power. Raymond Verdaguer’s linocut newspaper and magazine illustrations deliver small packages with immense impact, letting creativity loose under severe constraints.

An attractive colour brochure accompanies the exhibition, which is guest curated by Susan Gransby. Here are some quotes from her essay:

Unlike other forms of printmaking, which fascinate with their mysterious processes and often complex results, the relief print’s limitations are its strength. there is nowhere to hide in a woodcut, wood engraving or linocut.

There is something elemental and instinctive about scratching, gouging, cutting away at material, whether a cave wall, a school desk, a cut potato….

Do not confuse this with simplicity. Relief printing demands disciplined draughtsmanship…

exhibition reminder

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Blue Print, 2006, woodcut & lithography by Shinsuke Minegishi (Canada)

A reminder about an exhibition I wrote about before:

Re-Identification, the travelling exhibition of prints from Japan, the Netherlands and Vancouver is moving to North Vancouver’s Capilano College Studio Art Gallery on Monday, October 16th until November 4th. The opening reception will be on Thursday Oct.19th, 4:30 to 6:30 pm. A unique selection of prints is exhibited in each of the venues held consecutively in BC, so it’s worth dropping by even if you’ve seen the first two exhibitions in Vancouver. Hope to see you there!

visiting Interconnection

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We were sad to miss the opening last week of Michiko Suzuki and Wayne Eastcott’s exhibition Interconnection, also the grand opening of the new Bellevue Gallery. By all accounts the opening was very successful, attended by around 200 people spilling out onto the sidewalk.

Yesterday, my husband and I had one of our after-work “gallery and dinner dates” and went to the Bellevue, knowing that Michiko and Wayne would be there. We enjoyed a personal chat about their work, which utilize techniques of etching, inkjet, silk-screen and chine-collé. The work looks stunning in this lovely new space (and these photos do not do it justice). Even though we’ve seen most of the work before other than the latest new prints, it all looked very new and different in this spacious yet warm setting. As I’ve mentioned before this exhibition was first shown last year in Tokyo, then in Vancouver. Congratulations again to both artists for the success of this amazing collaboration!

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We also met Lynn Ray, the charming owner of Bellevue Gallery (her partner is her daughter Nicole Ray-Sharma who was not there this time). It was a pleasant surprise because Lynn and I knew each other many years ago and so enjoyed catching up with our lives since then. Lynn has a studio art and art history background as well as many years of business experience, so she has excellent qualifications for running a serious art gallery. An architect had been hired to do the interior of the gallery and this shows in the lovely architectural details, materials and lighting. The Bellevue Gallery is a great cultural addition to the charming Dundarave area of West Vancouver, right by the sea. Our very best wishes to the Rays for the success of this new gallery!

If you are anywhere near Vancouver and haven’t seen this significant exhibition by two very important artists yet, I suggest not to miss it. It is up until October 29th, 2006.

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Eastcott/Suzuki at Bellevue

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INTERCONNNECTION, Wayne Eastcott and Michiko Suzuki’s collaborative printmaking project is opening in Bellevue Gallery next week. This is a recently opened new gallery that is celebrating its grand opening with this exhibition, to be introduced by renowned Canadian artist Gordon Smith.

OPENING: Thursday, September 28th, 2006 6:00 to 9:00 pm
Exhibition continues to October 29th, 2006
Bellevue Gallery, 2475 Bellevue Avenue, West Vancouver, BC

Some excerpts from the exhibition statement:

This exhibition is the result of a collaboration that we commenced in 2002. However, the first work was not complete until the fall of 2003 because we spent many months trying to really understand each other’s interests, ideas and aesthetics. We wanted it to be a true collaboration and not merely two artists working on the same piece of paper.

The project is called INTERCONNECTION because it represents an interconnection on many levels: between ourselves as individuals, our cultures (Canada/Japan), the classical and technological forms, even the paper (classic Japanese Washi or Western papers etc.). Finally the works are brought to completion by another interconnection: that between our pieces and the viewer.

Please read more about these two printmakers’ collaboration in two articles written on August 23rd, 2004 and October 31st, 2005.