30 x 30 print show

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Gerri York: Phosphor endure 2005
Digital print, etching and chine collé
15cm X 15cm (about 12″ x 12″)
Photo: D. Martens

This sounds like a very interesting contemporary print exhibition by Vancouver area artists that I don’t want to miss (taken from BAG website, with links and bracketed comment added by me).

30 X 30: New Directions in Printmaking
February 28-April 16, 2006
Reception: Saturday March 4, 1-3 p.m.
Burnaby Art Gallery in Burnaby, BC (next door to Vancouver)

The Malaspina Printmakers Society on Granville Island has a special relationship with the Burnaby Art Gallery. A major portion of the society’s archives is housed at the gallery and composes a major component of the City of Burnaby Permanent Art Collection. 2005 marks the 30th anniversary of that association. To commemorate this important anniversary, 30 artists from societies past and present have been commissioned to create a work on paper–a print that fits within the confines of 30 centimetres by 30 centimetres. These works will be on display as part of the celebration of this important British Columbia printmaking institution.

experiments, part 2

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I wrote a little while ago about my recent experiments with digital printing on organza. Many of you readers were very interested in reading about my process, so I thought I’d update you on the results of some further experiments. If you missed that post, do go read it first in order for this one to make sense.

1. I mentioned back then that I would try a fresh new can of repositionable adhesive to place the organza on a lighter paper backing. I did this but it still caught in the printer head! Because the paper has to feed around the roller of the inkjet printer, the stress loosens the fabric, so nix for that method!

2. Then I followed up on a suggestion by Michiko to glue the fabric down with water-based Japanese paste. I decided to use mylar (not the inkjet mylar) as the base because this is heavier and stays flat. The organza, being so light, slippery and easily distorted, was difficult to lay down straight but it stuck really well and fed through the printer without problems.

3. I prepared another piece of organza with InkAid, a paint-on coating like we find on coated papers for inkjet printers. This product gave the organza a bit more body and made it easier to handle and glue to the mylar, plus I hoped that it might hold more ink. This went through the printer very well.

4. After allowing the ink to dry overnight on the above two prints (#2 & #3), I took one at a time and placed it into a sink of water to wash out the glue and lift up the organza. The first one without the InkAid lost most of its colour, but the InkAided one held more of the ink and maintained a little more body to the fabric.

CONCLUSION: The process #3 works well. However, in all of the experiments, the amount of ink retained by the organza is very light and I don’t think they are strong enough images for my needs.

Just for fun, I took several of the test prints and sewed them onto two wood dowels. I hung them with the front dowel about an inch away from the back panel which is mounted slightly out from the wall. The space allows one to see through to the layer behind much better than if the fabrics was touching. The wood dowels are bent because they had been standing in the corner of our garage for many years, yet the effect is rather interesting. These were not intended to be actual finished works, but let’s call this grouping a STUDY.

As I said, I still find the prints too weak so I’ve decided to set aside the organza for awhile. Tomorrow I’m going to test out the semi transparent inkjet vellum that has just arrived. I’m still going to try find out about other fabric options, including the just-learned possibility of inkjet ready silk on a roll that a new printmaking faculty person at the art school (Emily Carr Institute) has in her possession!! Interesting possibilities ahead!

slide show: aurora borealis

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Ooh, there’s a truly outstanding and beautiful slide show of the Aurora Borealis at Virtual Finland* (from where I’ve borrowed this photo)!

Finland is a leader in the study of the Aurora Borealis, the majestic display of colours that adorns the northern sky. The hub of auroral science is the Sodankylä Geophysical Observatory, SGO, in northern Finland, a centre of excellence in geophysics and related disciplines. Experts share their knowledge with Virtual Finland visitors, explaining fact and fiction regarding this cosmic wonder. And when you see our sensational images you’ll know why this is VF’s number one site, with millions of visitors around the globe.

Go see the slide show* and then read the accompanying fascinating articles.

The aurora was the subject of an earlier blog post here.

**Sadly, the links have since expired and are thus removed.

a batik exhibition

This little news item in Stone Pages caught my eye and really piqued my interest:

Exhibition: Spirits of the Stones
“A touring exhibition by Annabel Carey of batiks featuring stone circles in England, Scotland and Wales, which began at the Marischal Museum, Aberdeen in November 2003 reaches the Royal Cornwall Museum, Truro (England) for an exhibition running until May 13.

     The work shown here is the result of a 20-year project, Spirit of the Stones. This has resulted in more than 50 batiks celebrating prehistoric stone circles and tombs of the British Isles, many of which are here in Cornwall. Annabel said of her work: “I used the medium of batik as it seemed to offer me a wide range of expression to capture the essence of each monument. By exhibiting batiks from all regions together I hope to inspire and encourage other people to visit these monuments, some more than 5000 years old, and reflect on our ancient spiritual heritage.”

In the hopes of finding some images of Carey’s batiks, I did some searching and found the website for Royal Cornwall Museum but I’m disappointed that there’s only one small image shown. A couple of media statements at U of Aberdeen and in This is Cornwall give just a bit more information about the artist. Maybe some of my readers in the UK might have seen or will see this exhibition. If so, let me know what you think of it and if you find some images to share!

Now why did this pique my interest, you ask? Well, because of my interest in prehistoric stone circles, as most regular readers know, but also because I used to make batiks too.

Long ago when I was a high school art teacher and had just moved to a new job in northern British Columbia I learned that batiking was one of the optional art mediums in the program. I was unfamiliar with this but I was very lucky that my new friend and colleague, the textiles-home economics teacher in the classroom next to mine, knew the process and gave me a few lessons. I really enjoyed working together with the students, learning right along with them.

After my teaching years I continued to explore many media, especially batiking, trying to develop this craft into a serious art form. I stopped when I came back to printmaking. I still have some batik supplies stored away; now and then, like when reading about this exhibition, I get a little urge to do some again.

The image below is a detail of a lovely batik that our eldest daughter bought for us during a trip in Indonesia, where the technique originated. For information on batiking, visit Wikipedia for lots of good links to explore.

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UPDATE March 7th: Following up on a suggestion in the comments below, I emailed Valeri of dyeing 2 sew, because she lives in Cornwall. I told her about this show and expressed a hope that she might visit it and perhaps post some pictures on her blog. Valeri kindly did go see it, even took photos and blogged about her impressions along with several photos here plus more here. Go have a look! A big thank you, Valeri!!

winter weekend

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As we’ve been out and about this weekend, husband and I have been trying out a new SLR digital camera that we bought for each other’s February birthdays. Friday night after the opening in Tinseltown (International Village) we walked under the nearby Gate to Chinatown and captured this night shot.

Saturday morning we took our granddaughter to her soccer practise. The photos came out a ghastly orange so I turned this one to black and white and vignette, trying out some of the new iPhoto features. (Later: photo removed because I learned that the soccer association does not permit photos of the children to be posted – sorry!)

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This afternoon we went Nordic Walking in the rain along a lovely creekside trail. Tonight we will watch the closing ceremonies of the Olympics in Torino. A good weekend!

Olga Campbell’s opening

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We made it this evening to Olga Campbell’s opening at Diskin Galleries. Olga presented quite a large number of her digital prints, some based on her travels in Asia and some of her personal family history, and all very emotive and beautiful, full of texture and rich colours. A good crowd and a lovely large gallery and lots of food and drink – a great opening! Congratulations, Olga.

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ADDENDUM March 2nd: Olga told me today that the gallery now has some images of her work on their site – so go have a look!

Olga Campbell at Diskin

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Art Institute Printmaking member and friend Olga Campbell is having an exhibition of new mixed media works under the theme of “Triumph of the Human Spirit” at Diskin Galleries from February 24th to April 27th, 2006. The opening reception is on Friday, February 24th from 7 to 10 pm. Diskin Galleries in located on the second floor of Tinseltown, 88 West Pender Street, Vancouver, BC. If you are in the area, do drop in!

I look forward to seeing Olga’s beautiful work in this newish gallery that I’ve not yet seen. Olga had a very successful exhibition last year which I visited and wrote about. Have a look at some photos of her work at these links.

Update: 24/02/2006 Please visit my post about the opening

Kalevala Event

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Bharat Bhavan Biennial

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Detail from Silent Messengers: Hoodoos I

Yesterday, while my thoughts were still freshly on international print shows after writing the post about the Krakow Print Triennial 2006, I heard the thud of letters and magazines dropping in through the mail slot. I was most excited to find among the bills and junk mail a letter from India – is it good news or bad?

It is good! I have had my printworks accepted into the SEVENTH BHARAT BHAVAN INTERNATIONAL BIENNIAL OF PRINT – ART 2006 INDIA! I am particularly pleased because this is the first time I’ve entered a competition in India, and because the jury fee was very steep and the mailing not cheap.

The exhibition has already opened on February 13th at the Roopankar Museum of Fine Arts in Bharat Bhavan, Bhopal, India. I think all three pieces that I submitted will be on exhibition there: Silent Messengers: Hoodoos I, Nexus/Blue I and Nexus/Blue II. I am looking forward to receiving the catalogue!

This place sounds interesting. Because they do not have a website, here are a few words from the submission brochure:

Inaugurated by the former prime minister of India Smt. Indira Gandhi on Feb.13, 1982, Bharat Bhavan is a multi-art complex, providing interactive proximity to the verbal, the visual and the performing arts. […] Roopankar is the only museum of fine arts in India which houses both contemporary urban and folk – tribal art. Attached to the museum is a fully equipped printmaking workshop, ceramic workshop, design unit, archival section and facilities for stone carving and bronze casting.

International Print Biennials have been held there since 1989 with distinguished jury invited from around the world.

Krakow Print Triennial 2006

International Print Triennial Krakow Poland is celebrating the 40th Anniversary of its founding this year. I’ve mentioned this international print triennial several times before as one of the top ones in the world. It is notable for the numerous additional exhibitions that continue in other countries and venues long after the Krakow shows end.

I’ve been fortunate that I’ve been allowed to participate in several of these triennials – in 1994, 2000 and 2003. I’m eager to participate again this year so I have just sent in my contact information and two images of my work to them so that they will send me the application form and submission information. If you are a printmaker, I highly recommend that you do too!

In case you didn’t know, most international print competitions are juried from either slides, CDs or actual works that the artist has to submit, along with usually a jury fee. A catalogue of the selected works is usually printed and given to all the participants. Various monetary prizes are awarded for the best works and customarily the grand prize winner of the last triennial is given a solo show in the next triennial. Vancouverite Davida Kidd was this last grand prix winner in Krakow, and will be there this year – an exciting and great honour!

The Krakow Triennial website is an exciting resource for printmakers and anyone interested in the leading edge in contemporary printmaking around the world – particularly with the very thought provoking discussions in the FORUMs in 2003 and one that is now underway in advance of the coming triennial.

Keep on top of dates and submission information for other international print competitions. Finally, view the works of many printmakers around the world at ICONDATA.