Tag Archives: Printmaking

PatBacon_OldOrchard_cropped

Inside The Artist’s Studio with Pat Bacon

If you want a label, today I would say that I am a “photographer/printmaker” knowing full well that I have a painter’s sensibility. I like to color outside of the lines and to experiment, which is not really a practice that is compatible with traditional photography or printmaking. There is a prescribed process and set of steps that you should follow.

Experiment with printmaking and fire

Experiment with printmaking and fire

Printmaking and photography, like all mediums require understanding and mastery. The intrigue for me is to gain mastery while not being a slave to the expected process. When working, I want to collaborate with the subject, using the chosen media to make the unspeakable into something concrete.

Hedgerow Fog, photogravure, 2018

Hedgerow Fog, photogravure, 2018

Burn Pile, photogravure, 2018

Burn Pile, photogravure, 2018

Currently my art incorporates printmaking, photogravure, and collage. Photographic images from my camera, scanner or phone capture a specific moment. What I do with those images after capturing them allows me to elevate the quiet and insignificant in a loud world. Each of my pieces carry the trace the marks of the process of making them.

"Old Orchard" and "Burn Pile", digital prints made from photogravure images with wax and oil paint.

“Old Orchard” and “Burn Pile”, digital prints made from photogravure images with wax and oil paint.

Art is not obvious. Art critic, Jerry Saltz once wrote “Art is for anyone. It just isn’t for everyone”. My work is not for everyone. I start working on something for the possibility of interacting with an image that has the potential to speak beyond the obvious.

Self portrait, in the fog

Self portrait, in the fog


Pat Bacon is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Pat and her work can be found on our website. View more pieces by Pat Bacon on the gallery’s Artsy page.

The finished print with blue, red and grey added by hand.

Inside The Artist’s Studio with Sylvia Taylor

Every spring the spotted salamanders migrate from the woods behind my home in Ithaca, New York.  We watch for them on rainy nights. With a flashlight you can see their little dinosaur bodies moving forward into the night.  My print called The Quickening,  was inspired by the salamander migration.

salamander night

A Little Dinosaur in the Garden

Most of my work is created by a process called relief printmaking. It involves carving a piece of wood or linoleum, rolling ink onto the surface, and then transferring the ink/image onto paper. The final print will be the mirror image of the carved plate.   My favorite part of the process is carving the plate.

But first, I must get the drawing onto the plate.

I often draw directly onto the linoleum plate.

I often draw directly onto the linoleum plate.

Now for the fun part!

Cutting the Lino

Cutting the Lino

More Cutting...

More Cutting…

When you first roll ink onto the plate, it seems to spring to life before your eyes.  I love this part.

The image comes to life and any areas that need to be tweaked show up clearly.

The image comes to life

The plate is inked up and ready to proof

The plate is inked up and ready to proof

Next step is printing. Here’s my press:

My Printing Press

My Printing Press

The Ink from the Lino Plate is Transferred to the Paper...

The Ink from the Lino Plate is Transferred to the Paper…

It typically takes a few days for the ink to dry, depending on the weather

It typically takes a few days for the ink to dry, depending on the weather.

Once they are dry, I can add color and experiment.

Painting spots...

Painting spots…

The final print:

The finished print with blue, red and grey added by hand.

The finished print, “The Quickening”,  with blue, red and grey added by hand.

The word quickening references the idea of something speeding up but it is also a word used in pregnancy for the first moment that a woman feels the baby move in utero. Because I was a midwife for many years, I especially love that double entendre. I frequently see the process of making art with midwife eyes. Birth metaphors always come to mind.

In this print I was interested in exploring a certain kind of psychological undercurrent. Sometimes we experience the kind of change or upheaval that is marked by a departure from life as it has been. There is no going back and no discernible path forward. It’s like the proverbial night sea journey. Carl Jung talks about it as kind of a descent into Hades — to the land of ghosts somewhere beyond this world and beyond consciousness. Whenever I have a character in my art holding a salamander, it’s there to help find the way forward.

We were lost.

We Were Lost


Sylvia Taylor is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Sylvia and her work can be found on our website. View more pieces by Sylvia Taylor on the gallery’s Artsy page.

Meet the Artist in Residence: Sonja Petermann

SP Photo

Sonja Petermann

Tell us about your background
I live in St. Louis, MO, where I’m from. I received my B.F.A. with concentrations in printmaking and drawing from Ohio Wesleyan University. Since moving back to St. Louis, I’ve worked at multiple local print shops, including the Firecracker Press and Island Press.

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“Blankets” by Sonja Petermann

How would you describe your work?
My work is quite perceptual and I rarely use color, save for the hue of the paper. Typically, I work from the figure, often within an architectural framework. By prioritizing interesting composition and mark-making more than realistic rendering, I am able to bring out intense contrast and textures for a more expressive piece.

At work in the studio at Main Street Arts

At work in the studio at Main Street Arts

What is your process for creating a work of art?
It’s hard for me to determine exactly where my process begins because my life and my work are constantly influencing each other. Even though my work is not highly conceptual, topics I studied in school or am generally curious about often find their way into my creative process. I read, journal, sketch, and take photos in preparation for my projects. Though I think a lot about my subject matter and compositions, I really let myself go when I begin to work on a new piece or edition. This way I can react to the piece as it evolves and avoid becoming close-minded when things go in a different direction. In addition, I usually have multiple pieces in progress at the same time. It’s a great way to continue making, even if you’re stuck.

Drawing in progress in the studio at Main Street Arts

Drawing in progress in the studio at Main Street Arts

What is the most useful tool in your studio?
Paper! Paper is amazing.

4. Kat on the Boardwalk

“Kat on the Boardwalk” (a work in progress)

What are your goals for this residency?
Currently, I am exploring collagraph, one of many print processes. In the beginning, I’ll explore which materials and tools make which marks and tones. The print above is an example of what collagraph can look like (this piece is a work in progress). Once I have refined my methods, I will begin printing a series of prints relating to memory. My goal is to finish this series.

What’s next for you?
After this residency, I will return to St. Louis where I have a job waiting for me as well as a space I hope to turn into a studio. Still, I will continue applying to residency programs.

Where else can we find you?
Instagram is the best bet: @sonjapetermann . I have a Facebook account, but I rarely use it these days. Website coming soon!

 

Meet the Artist in Residence: Amber Roach

Amber Roach is one of our current artists in residence at Main Street Arts. She is working on printmaking and oil painting in during the months of November and December 2017. We asked Amber a few questions about her artwork and studio practice. 

Amber Roach

Amber Roach

Q: Tell us about your background.
I was born and raised in Syracuse, New York. I graduated from Syracuse University with a BFA in illustration.

Q: How would you describe your work?
My preferred medium is relief printmaking. However, I wouldn’t confine myself to only using a printmaking process when making a piece. If I feel it would be enhance by painting or drawing I’ll work in a more mixed media fashion. I would describe my work as graphic yet textural.

Prints by Amber Roach

Prints by Amber Roach

Q: What is your process for creating a work of art?
Once I’ve decided on a subject matter I start out with very loose thumb nail sketches. After I feel I’ve gotten a decent composition I’ll transfer my drawing to the block and redraw it with more detail. I carve the block and do about a dozen test prints to figure out which colors to use.

Q: What are your goals for this residency?
For this first month, I want to fine tune my portfolio and create more pieces that are cohesive with my current body of work. Primarily I’ve been making linocut pieces. For the second month, I want to get back into oil painting.

Amber Roach working in her studio at Main Street Arts

Amber Roach working in her studio at Main Street Arts

Q: What is the most useful tool in your studio?
My glass palette.

Q: Who is your favorite artist and why?
My favorite contemporary painter is Kent Williams because of his use of color and the way he captures the figure. My favorite contemporary printmaker is Kathleen Neeley — I admire her style and the characters she creates.

Q: How do you promote your work?
Mostly through my Instagram but I’ll also send out mailers to art directors.

Print by Amber Roach

Print by Amber Roach

Q: What’s next for you?
After this I will probably be planning a move to New York or hunting down another residency.

Q: Where else can we find you?
Instagram: @amberleighroach
My website: www.amberroach.com
Etsy: www.etsy.com/shop/amberroachart


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts. Artists in residence have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly. Upcoming deadline: November 30, 2017 for a residency in January, February or March 2018.

Meet the Artist in Residence: Chas Davis

Chas Davis is one of our current artists in residence at Main Street Arts. He is working on prints and paintings during the month of July, 2017. We asked him a few questions about his artwork and studio practice.

 

Portrait of the artist

Portrait of the artist

Q: Tell us a bit about your background.
I grew up in Indiana, and like most kids, started drawing at an early age. I just never stopped, and have been a painter and a printmaker for most of my life. I guess that’s it in a nutshell. I have been in Rochester since 1996, and my studio is in the old Valley Cadillac building at 339 East Ave. I have taught here and there and now and then, at RIT, the Creative Workshop at MAG, and Roberts Wesleyan, for example, and currently teach a monoprint series of classes at the Flower City Arts Center, formerly Genesee Center of the Arts. You can see some of the more fun things I’ve done in Chas Davis’ Rambling Bio.

 

Artworks Gallery, 2015

Artworks Gallery, 2015

Q: How about some of your influences?
I was blessed growing up with many generous teachers, and while I was never too influenced by any one style of imagery, I was more impressed and influenced by hard work and the different ways to arrive at a solutions to visual problems.

 

Here I am doing some detail work.

Here I am doing some detail work.

Q:Where do you find inspiration?
I am very inspired by the landscape. I have travelled a lot around the country and the more time you spend in nature, the more you realize that everything is interconnected, and alive. I am inspired by simplicity, and by literature. Stories—especially the evolution and dynamics between events and characters—feed the imagination and create an alternate universe. These are some of the important elements that feed into my work. This is why I was attracted to Clifton Springs, because it is central to the Finger Lakes landscape, and it is in an area with a rich history.

My studio at Main Street Arts

My studio at Main Street Arts

Q: What do you hope to accomplish in your residency at Main Street Arts?
I have always wanted to work specifically with the Finger Lakes landscape, so I will focus on that. Since there is an etching press outside the studio I will fool around with that and see what happens. Then I have a few surprise projects that I have no idea what will happen, so we will see. I would also like to get familiar with the area and meet new people as well.

Q: Where else can we find you?
I have a web site, www.Chasworld.com and a studio page on Facebook, www.facebook.com/ChasDavisStudio.

 

Inside the Artist’s Studio with Katherine Baca-Bielinis: Printmaker

Katherine’s artwork is on view in our juried exhibition “Small Works 2016”. Her work is available for purchase in our Online Gallery Shop:
store.mainstreetartsgallery.com


I am often asked how a native of San Francisco ended up in Rochester, NY.  I reply, “It was fate!”  After earning a BA in Studio Art with a concentration in Printmaking from California State University at Long Beach, fate took me on a slow eastward journey across the country that eventually ended in Rochester – my home for the past 30 years.  Fate also steered me to R.I.T. where I received a Masters in Art Education. This resulted in a long, wonderful career teaching art in Rochester area schools.

After retiring, fate intervened once again.  It allowed me to finally focus my energies on my professional art career and led me back to printmaking – my true artistic passion.  I have directed my initial efforts towards learning non-toxic processes that afford me the ability to work in my home studio, as well as the Printmaking studio at R.I.T.  All forms of printmaking fascinate me.  My current efforts are primarily focused however on lithography and etching with an occasional departure to silkscreen. These methods enable me to draw, which is an essential part of my work.

My home studio.

My home studio.

My current imagery stems from a love of old world architecture and a desire to present the grandeur of the urban environment. In our hectic lives, full of distractions, it is often difficult to take a moment to enjoy the beauty around us. In my work, I hope to reconnect the viewer with the elegance and craftsmanship of these architectural features that were missed along the way.

My process usually begins with a photograph that I have taken – in this case,  “Casa Batllo”  in Barcelona at Antoni Gaudi’s architectural masterpiece.

Photo, Casa Batllo, Barcelona.

Photo, Casa Batllo, Barcelona.

A drawing is then developed from the photo.

Drawing for silkscreen "Casa Batllo", based on a photo  taken in Barcelona.

Drawing for silkscreen “Casa Batllo”

Silkscreen is a shape-based method, so the next step is to develop the color separations on tracing paper or vellum, always keeping in mind that overlapping colors will create additional colors.

Color separations on vellum.

Color separations on vellum.

Each separation is then transferred to a silkscreen using photo emulsion and a light exposure unit.  I use ink dispersions in a transparent base medium which allows for a subtle build up of colors, almost giving the appearance of watercolor.

Silkscreen with image transferred to emulsion.  This is now ready to print.

Silkscreen with image transferred to emulsion. This is now ready to print.

Each color builds upon the last until all colors have been printed. Below is the completed  silkscreen, currently on view at Main Street Arts Gallery, Small Works Exhibition.

Completed silkscreen, "Casa Batllo".

Completed silkscreen, “Casa Batllo”.

Additional works can currently be seen at the Mill Art Center and Gallery, ROCO and the Ink Shop.


Stop by Main Street Arts to see Katherine’s work in our current exhibition “Small Works 2016” (juried by Bleu Cease, Executive Director/Curator of RoCo; exhibition runs through January 6th). Katherine’s work is available in our Online Gallery Shop: store.mainstreetartsgallery.com. Visit her website at www.kcbaca.com.

Take a look at our previous Inside the Artist’s Studio blog post by artist Richard Harvey.

Inside the Artist’s Studio with Heather Swenson: The Link Between Silkscreen and Collage

A little over four years ago I moved back to Rochester after graduating from Purchase College of Art and Design with a BFA in Interdisciplinary Visual Arts and a concentration in Painting and Printmaking. Since then I have continued to work across several mediums, moving between silkscreen, collage, painting, sculpture and installation. Currently I have been focusing on silkscreen and collage, noticing their similarities and working to integrate principles of collage into my prints.

My screenprints always start from a drawing, often one that I cut up and rearrange. This drawing often goes through many stages before I settle on a composition for the final print. Through the images below I will walk through the process of making one of my recent screenprints, Temporary Stability.

One of the first compositions for Temporary Stability.

One of the first compositions for Temporary Stability.

Final drawing for Temporary Stability.

Final drawing for Temporary Stability.

I sort through an ever-growing collection of old books and paper for inspiration, often adding new elements into the drawing.

Paper scraps from my collection.

Paper scraps from my collection

Once I arrive at the finished drawing I start making layers for the print. I lay a sheet of acetate over the drawing and trace a section with a lightfast marker.  With silkscreen, each color is laid down separately, so for every color in the print there will be a corresponding sheet of acetate. This process of separating colors and focusing on how parts make up the whole link up to the way I think about collage.

Making the layers for the print, this film will be used when exposing the screen.

Making the layers for the print, this film will be used when exposing the screen.

In my studio in the Hungerford Building, I have a small exposure unit that I built to expose the screens and a table with hinge clamps to make my prints.

My silkscreen table  with a screen in the hinge clamps.

My silkscreen table in my studio with a screen in the hinge clamps.

Aside from the loose palette I select for the silkscreen, printing is a spontaneous process for me.  I mix my colors as I work, often making changes along the way.  As shown below the final print, Temporary Stability, is slightly different from the final drawing I made. Instead of the grey shape at the bottom, I printed a scanned security envelope pattern.

The final preparatory drawing and the final print.

The final preparatory drawing and the final print.

Among other prints and a set of small sculptures, I have two pieces in the Upstate NY Printmaking Invitational that bridge the gap between collage and silkscreen. They are collages that I made from cutting up my screenprints. Repurposing of my work in silkscreen brings it full circle to the beginning stages of the process when I am arranging parts for the drawing.

Collage made entirely from cut up screenprints.

Collage made entirely from cut up screenprints.


Stop by Main Street Arts to see Heather Swenson’s prints in our current exhibition the Upstate New York Printmaking Invitational (runs through October 7). You can see more of Heather’s work online at www.heatherswenson.com or follow her on Instagram @heatherswensonart.

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Gregory Page.

Inside the Artist’s Studio with Gregory Page: Motifs From My Back Yard

The following images show my printmaking process.  The photos are from a project completed while I was on sabbatical leave in 2013. Three print were produced and several unique impressions at Normal Editions Workshop at Illinois State University in the College of Fine Arts School of Art, Normal, Illinois.

I worked with Professor Richard Finch (Director of Normal Editions), Veda Rives (Associate Director), and Christopher Hagen and Alyssa Tauber (both graduate students in the Department of Art).  I also worked with Jessica Chambers (Director of the Horticulture Center at Illinois State University) and Professor Don Schmidt (Dean of the School of Biological Sciences and Director of the Biological Sciences Greenhouse Collection at the Felmley Annex). I also visited the Rapp Agricultural Building Greenhouse.

Collecting the plants:

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Drying the plants:

Drying the plants

Soaking the leaves:

Soaking the leaves

Leaves in the tray coated with tusche:

Leaves in the tray coated with tusche

Leaves are placed on Artex film:

Leaves placed on Artex Film

Leaves dry and are removed from the film:

Leaves dry and removed from film

The exposed plate:

Exposed Plate

Printing:

Printing

The plate is printed:

The Plate is printed

The prints are signed:

The Prints are signed.

The finished prints:

Motif From ISU Greenhouse Selections I

Motif From ISU Greenhouse Selections I

Motifs From Greenhouse Selections II

Motifs From Greenhouse Selections II

Motifs From Greenhouse Selections I & II

Motifs From Greenhouse Selections I & II

Prints in the Upstate New York Printmaking Invitational at Main Street Arts:

Gregory Page

Gregory Page


Stop by Main Street Arts to see Gregory Page’s prints in our current exhibition the Upstate New York Printmaking Invitational (runs through October 7).

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Minna Resnick.

Inside the Artist’s Studio with Minna Resnick: Idea to Finished Drawing

My work deals with visual and written language over time, exploring generational differences in the understanding of communication. I use illustrated early and mid-twentieth century manuals on home management, décor, repair, health, education and etiquette for source material and inspiration. This drawing starts with photo illustrations from the 1967 book (pictured below) whose opening sentence reads, “My dear young friend: This, I think, is the book you have been waiting for.” Ha! This text only makes me laugh and initiates the process of reinventing the original source material into something with totally new associations.

book-Seventeen

I use two images from different book chapters and print them on separate sheets of paper in two colors. Both sheets are then covered with a watercolor wash of the same color and the sheets are joined together.

drawing progression

Using a photograph I took of my model, I start drawing over the background with a colored pencil, integrating another layer of information. Here’s more progress:

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I continue adding layers (and obstructing previous ones) as I develop the image…

IMG_4137

…until my idea for the new drawing is complete.

The title of this image is “Learns Much About the World”.

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Stop by Main Street Arts to see Minna Resnick’s prints in our current exhibition the Upstate New York Printmaking Invitational (runs through October 7). View her work online at www.minnaresnick.com

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Kathleen Sherin.

Inside the Artist’s Studio with Kathleen Sherin: Printmaker

U D, Carborundum Monoprint, 19.5 x 9.5 inches

U D, Carborundum Monoprint, 19.5 x 9.5 inches

The prints I have on display at Main Street Arts are part of a new series called “Imeasurable Blues”.

Assembled Carborundum and Collagraphic Monoprint, 25 x 15 inches

Assembled Carborundum and Collagraphic Monoprint, 25 x 15 inches

I create my prints in my studio in the TriMain Building as a resident artist in Buffalo Arts Studio  and larger prints in the printshop at the University of Buffalo through a community access program called ePIC ( Experimental Print Imaging Center).

My studio and press at Buffalo Arts Studio

My studio and press at Buffalo Arts Studio

I always work in series.  Each series is a conversation. These conversations all seem to have a common thread, to explore and express conflicts and contrasts of the physical and mental aspects of being human – or  of the rational and intuitive self. In this current series I have ventured past the border of self to the resonant forces found in nature.

My 10 second statement: “Ideas derived from Biology clash with ideas about Psychology, are mediated by Observation and Experience then completed on an Etching Press”.

The press is an essential tool and partner in creation and  involvement in the process of printing is essential to my creative thinking.

2.press

The prints in this exhibition are Carborundum and Collagraphic Monprints.

A Carborundum  print is made from a calligraphic process in which the image is painted on the plate with carborundum (a gritty abrasive powder) mixed with acrylic medium. Once dried the plate is inked wiped and printed.

The Process of Making a Carborundum Print

A drawing with a liquid acrylic mixed with carborundum in made on  a polystyrene (plastic) plate.

Making the plate -

This plate has combination of lines made with Carborundum and lines made only with acrylic medium.

Close up of plate:

Close up of plate

Once the additions are  dry,  ink (oil-based etching ink) is rubbed onto the plate and into the textured surface of the carborundum lines until the entire plate is covered with ink.

Inking the plate

7.wipe3

Excess ink is wiped off with tarlatan (material like starched cheesecloth).

tarlatan

I leave much  of the ink on the plate –  and the marks in the ink by manually wiping.   It is now ready to print.

readytoprint

Dampened paper is placed over inked plate on the press bed.

wetpaperon

A rubber blanket is placed over paper to cushion and to allow the paper to mold over the raised lines on the plate.

blanket

The print is rolled through the press user pressure.

throughpress

A print is born!

printborn

A print and plate.

printandplate

Some of my prints like the following are layered pieces  - This print has ben made with 2 plates, one printed over the  other in a separate run through the press.

W T S O, Carborundum and Collagraphic Monoprint, 24 x 15 inches

W T S O, Carborundum and Collagraphic Monoprint, 24 x 15 inches

This is my thinking and working wall at the studio – I am usually working on several overlapping series at once.

workingwall

This is the other part of my studio filled with prints.  BAS is an open studio space; please feel free to visit.

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Though I have lived and worked in Buffalo NY for many years, I am originally from Greenwich NY.  I moved to Buffalo to attend college first to study nursing (BS in 1972) then continued on to study and make art (BA Empire Sate College 1981, MFA in painting at UB 1985).

I studied intaglio as a post-graduate and  learned traditional printmaking methods. I abandoned these soon to discover through trial and error - simpler materials and more direct, less chemical-mediated ways of working.

My prints are unique, one-of-a-kind, hand-pulled pieces that blend traditions from painting, printmaking and collage. They contain a combination of direct non-chemically-mediated printmaking methods that include my personal spin on collagraphic, carborundum printing and monoprint techniques.


Stop by Main Street Arts to see Kathleen Sherin’s prints in our current exhibition the Upstate New York Printmaking Invitational (runs through October 7). View her work online at www.ksherin.com

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Barbara McPhail.