Saturday, 6 December 2008

Heather G Foster, Deborah Grant + Arvon Wellen

Heather G Foster

Heather is an English woman who lived for a time in Nigeria and is now settled in Yorkshire in the north of England. Heather seems to mainly work at making images of landscape type subject matter with some abstract compositions thrown in to the mix here and there. Her main printmaking technique is intaglio etching with some collagraph and drypoint. She also uses screenprint, mixes media with the use of collage and other materials.

Deborah Grant

Deborah Grant is an American, based in New York, who works out of the Lower East Side Printshop. She takes her subject matter from modern art history itself as well as from contemporary culture. She uses whatever medium suits her content too - ranging from straight forward 2d work to "print objects" (such as the Marlon Brando piece featured here), as well as sculpture and paintings..Deborah exhibits throughout the USA.

Arvon Wellen

As a printmaker Arvon has used, and continues to use, traditional methods of printmaking such as etching and screenprinting. But for about the last fifteen years he has mostly made digital prints. He often combines processes making multi-layered prints with both digital and etching techniques.

Sunday, 2 November 2008

"Bimpe V" Miniprint 2008

Something or other took me over to the Bimpe Miniprint website and I thought I'd see if there had been any prints which integrated inkjet into the mix. I found three prints and include two of them here as one of them, by Jana Sasaki I had seen previously on the Bimpe website. In fact it's on here in my post for the 2007 Bimpe miniprint selection.

The 2 artists selected were Rosamond Norbury whose name I know I have come across before and Barb Snyder whose name is also familiar. I couldn't find a website or blog for either of these printmakers although I did find a little biographical information about Barb Snyder.

"Barb Snyder has a Bachelor of Science degree in Zoology from the University of B.C. and has taken numerous courses in Fine Arts through both U.B.C. and Emily Carr College of Art & Design. Barb has participated in many print shows at both Dundarave and Malaspina Printmakers and experiments with numerous forms of printmaking, in particular, working from personal photographs, often from nature."

Sunday, 12 October 2008

Wikipedia references this website

Oh what fun .......nice to know that someone knows that we are here creating this resource.

The image is by Anne Seidman MA (Ohio State University) has exhibited widely, both nationally and internationally. Her work is in the permanent collection of the Philadelphia Museum of Art, Arcadia University, Bryn Mawr College and the University of Wisconsin-Milwaukee.

She is represented by Schmitt/Dean Gallery in Philadelphia.

Click on the image to enlarge and see the info/details about the piece.

Friday, 3 October 2008

Marissa Keller, Dutch artist, based in Singapore

Yesterday in the course of researching technical information concerning aspects of the A.R.E., acrylic etch resist, process - I came across Marissa's work and I particularly thought her most recent body of work called " Jendela Draw Print Book" was quite impressive.

It's a series of images made using intaglio relief and inkjet printmaking. In the images which are manifest to an extent beyond the usual two dimensions, we see the whale, elephant, tiger, rhinoceros and the sparrow. This latter creature being the focus of the work below called House Sparrow.

Marissa Keller M.F.A., lives and works in Singapore since 1993.

From 1988 to 1993 she held positions as an art educator at different institutes in the Netherlands, where she used to live.

In 2006 she established her own art and printmaking studio, where she creates art works, paintings and prints.

Monday, 11 August 2008

Graphica Creativa

Recently I had reason to visit the website of Graphica Creativa, based in Finland and I came across these two Finnish printmakers making prints in a tradigital manner.

Grafica Creativa’s website lately does not seem to be functioning properly although it ought to contain archives of the numerous triennial events that it has presented.?
I cannot remember how exactly I found these but none the less here they are.
I seem to have the recollection that they were featured in Grafica Creativa 2005

In 2005, they celebrated their 30th Anniversary and presented their 11th International Print Trienial. There were four exhibitions on that occassion, Ritva-Liisa Virtanen and Jokke Saharinen featured in one of the events called Finnish Open". It was held at the Jyväskylä Art Museum.

Ritva-Liisa Virtanen

Ritva-Liisa Virtanen is a well established and experienced fine artist from Savonranta in Finland. . Apparently to begin with she worked as a graphic artist and more recently has been involving herself in installations and has been using a wider range of techniques within her work. For example in a recent exhibition she made a wax cake to be situated on a table,that was part of an installation or performance as part of Tina B
The whole thing was linked to The Prague Contemporary Art Festival

About her print Ritva says « oil is the origin of cowboys and plastic soldiers. Wisdom of the bees is that their honeycombs keep giving giving birth to new bee generations. Real soldiers set out to fight for oil, and at the same time billions of bees are hatching out of their combs. »

« Jokke Saharinen »

Co incidentally Jokke Saharinen work also uses beeswax, it was shown in the same exhibition as Ritka’s and received an honorable mention. I could find no further information on Jokke that I could decipher linguistically.

Monday, 4 August 2008

Jana Sasaki, David Kolic and Michiko Suzuki

Jana Sasaki is an artist whose work I came across on the Bimpe website. I actually had a print in their very first annual miniprint competition. No catalog that year as far as I am aware. I am not too sure that they do one now. I will update this post – if I find out what the situation actually is, where that is concerned.
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BIMPE V - The Fifth Biennial International Miniature Print Exhibition

If you would like to find out more about Jana, as an artist please see this article
on Sunspeak News

Robert David Kolic

All I can tell you about Robert David Kolic is that he attended Capilano College, Vancouver, British Columbia, Canada – one presumes reasonably recently – that’s as much as I could gleam.

Michiko Suzuki

Hailing all the way from Tokyo, Japan is I think, quite an interesting and talented artist - Michiko Suzuki.

She likes to experiment with different media and that extends to her substrates which include papers both Eastern and Western. Her repertoire includes toner-etching, drypoint, collagraph, woodcut, silkscreen, metallic pigment and stencil.

If you visit her page at the her page at the Bellvue gallery, Vancouver you will see some inkjet prints in her folder to begin with followed by a number of very lovely mixed media prints.
It’s a flash enabled website - so just click on gallery artists at the foot of the page and on the list at your left check for “Michiko Suzuki” towards the end of the alphabetical list.

Saturday, 19 July 2008

Interview with Dennis Raines, Artist/ Printmaker

Aine: Firstly, Dennis I’d like to thank you for agreeing to have this interview, and giving of your time.

Dennis: No Problem, anything to share what I do.

Aine: These are questions thoughts that have occurred to me as I have looking through your artwork. As you are aware, Dennis, Iammainly, viewing the ‘tradigital” prints, as this is the particular focus on my blog.

Dennis: Excellent I find that there are few forums to discuss “tradigital” printmaking, typically it's explicitly one or the other: hardcore traditional or hardcore technology/new media, never a blend.

Aine: What I was wondering was……………… how long have you been a practicing printmaker?

Dennis: I've been a practicing printmaker and artist for the last 10 years, including my time as an undergraduate student and graduate student.

Aine: Were you working as a more “general” fine artist prior to that………..or what? Did you or in fact do you paint at all or have you used any other medium?

Dennis: Actually during my time at art school, in the very beginning I had originally intended to be a painter and didn't really know what printmaking even was. I ended up studying printmaking early on as a fluke by needing to take a certain number of class requirements. At the time I didn't know that it'd stick with me long after the initial class.

Aine: In your work as a printmaker – what were the processes you worked with initially?
Was this influenced by the facilities that were available to you? Did you have access to a print workshop?

Dennis: Initially as with most people- I worked in relief in linoleum and wood blocks “here and there” but never seriously studied it. It wasn't until college when I was introduced to intaglio that I understood it as a mature art medium.
Yes facilities played a large roll with my introduction to printmaking. My undergraduate schooling had a fabulous world-class print facility. Yes. As a student I had access most of the day if there wasn't a class in session. And through the years I've had access at a variety of co-ops or print facilities at schools I've taught at.

Aine: Were there certain processes that you felt suited your ‘style’ as such, or was it a case of you wanting to try out everything e.g. screen-printing, intaglio, woodcut litho etc.??

Dennis: Largely Intaglio. It was my first “true” introduction to the printmaking discipline and it stuck with me more than the other mediums I tried. However based upon the initial idea- or facilities available- the medium does tend to change. However intaglio and mezzotint are always going to be in a soft spot for me, and if I have facilities available at the time I try to get my time into them.

Aine: I see that you studied for a bachelors and a Masters degree ……………was that important for you -- I mean to undertake a master’s degree?

Dennis: For the bachelor's degree it was necessary. Art is one of those fields that one doesn't need a degree in to be a professional- but it helps a great deal. In theory I could have learned everything I did on my own- it just would have taken eight times longer and I probably wouldn't have studied printmaking. So for my undergraduate experience I'm quite grateful for it.
I went directly into a master's program after my bachelor's, and finished in 2 years. It was important for me to do a master's sooner than later. My reasons for doing so were two fold I wanted to continue my own “research” and gain the necessary credentials to teach.

Aine: Was your course a good one? Did the educational institution you attended - have a “house style” as such, OR were individual expressions/ identities encouraged. Do you feel that you were ‘tutored’ in its refinement / sophistication?? i.e., to take it to perhaps a higher level??

Dennis: I suppose yes, as the events lead me to where I am now. My undergraduate experience was very structured in a highly traditional printmaking environment, however there was no “house style” in the studio- we were encouraged to explore where ever the medium took up personally- self expression was pushed greatly at Cornish College in Seattle- where I attended.

Technical medium and process were kept slightly separate from content. So there was a large push for refinement of skill. My graduate experience at the University of California at Davis was more for independent work, that's where the digital aspects of my work started to become apparent, and where I first became an instructor of art.

Both my undergraduate and graduate schools were mixed interdisciplinary programs, which allowed for quite a bit of freedom expression.

Aine: What did you hope to get out of immersing yourself inside that process (of doing the M.A.)?

Dennis: Mainly for teaching credentials, and more solo work time to explore with minimal amounts of faculty peering and “baby sitting.” Graduate school was also more like a 2 year residency, so I didn't have to worry about “paying bills” much as I would have had to do “in real life” after finishing my bachelor's program.

Aine: Did these hopes become realized to a greater or lesser extent?

Dennis: To a greater extent they were. I went down a fairly different path with my work from where I started at the end of my bachelors program, I had finished there by making a series of 10 mezzotints (“one of my favorite things” etc), to making digital prints in graduate school. My master's program was fairly grueling, often feeling like I was in a war zone. Mainly from the everyday politics of the department. Much of the departmental politics were shielded as an undergraduate – but I in a master's program I could see the inner workings which can be a highly frustrating experience.

Aine: Now I ‘d like to ask you about how you arrived at a situation where you started incorporating digital along with traditional printmaking techniques??

Dennis: I had always played around with the idea of incorporating digital medium with traditional printmaking when I was an undergraduate- but the technology wasn't “quite there” in the 1990's when I was a student. The technology finally caught up when I was a grad student in 2001-2003. A lot of the digital output I was using couldn't take the abuse of being wet or being ran through a press until really only a handful of years ago.

Aine: Do you remember the first one you did? Is it viewable online or is it “secreted away” somewhere?

Dennis: Hah, I think with enough time- all of my work gets “secreted away.” I think my first direct tradigital print was the intaglio, chine colle print “Homeland Security”. It was in my masters thesis show, it's 32 X 24 inches and I tried to “go out with a bang” and make the biggest print possible for my first venture into tradigital printmaking.

Aine: Can you say what do you like about working in this way - i.e, tradigitally?

Dennis: For the most part I was trained and used a computer since I was really a child and learned academic art and drawing when I was an adult in college, so there was a certain amount of familiarity there for me, that I'm not sure I would have had if the situation were the other way around.
But I noticed that I was trying to blend the two mediums together - not have a traditional print with blatant digital components smacked on top.

I wanted to integrate the two and use it (the digital) as “just another tool” for my own ends. Also - now that it's been a few years since I had the free-time of a student, I've found that utilizing a digital component also can save some time - albeit only a little as it is still time consuming.

Aine: oh what is your physical set you work from a studio in your home or do you only use an open access print workshop?

Dennis: I currently work out of a home studio with my digital set-up and silkscreen set up. I usually work with intaglio if I'm teaching a college course and utilize the press - or work with a local co-op where ever I happen to be living. I had been living in California in San Francisco up until a year and a half ago, moving to Seattle for a teaching position.

Aine: For digital print – what kind/size printer do you have e.g. A4 or A3+, or larger ?

Dennis: I have an “old” work horse, and Epson 2200, which prints Super B (13”X19”) and has a width of 13” and a length of 44” I believe dependent upon paper size. It prints on a wide variety of surfaces, and paper types.

Aine: Is it a pigment printer or a dye based one?

Dennis: It's a “pigmented-dye” ink, whatever that means. It's rated to have a “100 year life” on printmaking paper, and the ink is waterproof- allowing for the “press abuse.”

Aine: Do you use ordinary typical printmaking paper e.g. Fabriano arches rives BFK, Hahnemuhle etc
OR do you use the printers specialists ‘proprietary’ brands e.g. Epson papers and so forth.

Dennis: For the most part I use almost exclusively printmaking paper - with much success on western and eastern papers.

Aine: Perhaps you use all sorts of paper?

Dennis: I have recently used coated papers made for digital printers in conjunction with silkscreen. I found that the special coating works well with silkscreen.

Aine: Do you give consideration to the question of "archivibility"/ permanency? What are your thoughts on this aspect?

Dennis: I'm less concerned about “archivalness”- as more then likely, the work will out live me by quite a few years.

Aine: Do you get the overall idea for the “finished print” first and then plan out how you will realize it?

Dennis: A little of both. I plan things out meticulously, and then execute. However even in a digital setting, I still have to make adjustments and changes. Some times the changes are little, other times there's no resemblance at all in the finished product.

Aine: Perhaps you print out “backgrounds – I do this myself) and then try them out by printing on top of them with a woodblock or other “print plate”?

Dennis: I had originally started using the digital components as a background- but have branched out and have digital components in different aspects of the work. There are some parts which are about 90% digital and others that have none in the final product- but I use Photoshop as a drawing/drafting tool.

Aine: I note from your CV that you teach and wondered if your students show an interest in integrating the old and the new printing technologies. ??

Dennis: Some do, some don't. If they have an interest and the facilities, then it opens up another avenue for creation.

Aine: Dennis -- it would be interesting if you would talk somewhat about the ideas with some of your prints?

There's a recent one, called, “I’ll hide away for another day”.

How did you go about making that piece. I was wondering whether the trees that are layered behind the transparent red, have any bearing on the title/meaning ? Is that little container jar supposed to, in a way, be like a little desert island ‘away from it all’, an oasis perhaps? Those are just my thought.... when looking at the piece ?

Dennis: “I'll Hide away for Another Day”
has two meanings. One that I get from most observers, is an environmental one, saving nature and the ecosystem while it's still around, hence the red used as a warning colour. The other meaning, is that which you have interpreted. It's about hiding away from everything, just to get away, everyone has a pocket oasis somewhere.

Aine: In “There doesn’t seem to be anyone who agrees with me”, did you print the couple in the background first and then perhaps print the cigarette pack on top using something like a hard ground etch? Is that piece to do with being a smoker in a non-tolerant world or perhaps it’s to do with religions and intolerance? that said - as I notice the ‘icons’ on the cigarette pack? Is that printed on “albaca” paper or something similar ?

Dennis: With “There doesn't seem to be anyone who agrees with me” I was going over the history of smoking in the world, and the nostalgia of smoking and the totally different view of smoking in the past and touching upon the world universality of smoking (for better and worse).

Technically speaking there's chine colle sheet with the couple digitally printed on it, and the pack of cigarettes is just a simple line etching and aquatint.

It's a little more obvious with the digital component compared to other's I've done like “thinking back to god knows when”
which is less obvious (to me anyway), and the other prints I'm currently working on. The paper is a sheet of Hanemuhle copper plate, and the chine colle is a heavy weight Mitsumata.

Aine: The other piece I would appreciate you talking about is “Homeland Security”?

Dennis: “Homeland security” is a piece that was part of my master's thesis show from 2003. I attended graduate school directly after undergraduate school and moved from Seattle to California, and was quite excited to start my new life in my new home, and had moved to California on the night of September 10th 2001, making my first official day of my new life the 11th. Which wasn't the best was to start. The print came about from the politically turbulent years that followed, which made me quite the jaded student, with what was going on socially and politically in America at that time. People were scarred to death of everything to the point of stupidity, and giving unchecked power to the very people who were in charge at the time.

So from a technical stand point I wanted to make a statement and make the largest intaglio print possible. I combined for the first time direct digital components, I used 3 plates all at a size of 24” X 32” with a large chine colle piece (the yellow) and 20 smaller singular pieces of chine colle (the “pages”). I used the large press available to me, which was a custom built Hunter Penrose Little John press, that had a press bed that measured about 48” X 36” or so- and printed wonderfully. Before I stated my graduate studies, the press was used as a table. I like to think that I made an impression while I was there, but realistically it's probably a table again today. Strangely because of the graduate school department, there was a huge push for digital everything, to replace anything and everything traditional- including printmaking which was seen as “quaint.” That mind set is what contributed me to work in the fashion that I do now- using digital seamlessly as another tool in printmaking. I made a giant staggering edition of 1/1 with that print, due to the complexity. I wanted to make both digital and traditional media exist in harmony with each other. I started using the term “print media” instead of printmaking.

Aine: Is it printed on pages from a book or something along those lines or perhaps it was your intention that the digital print ‘ground’ as it were, should give that ‘semblance’, that ilk ?

Dennis: The images used were taken from the department of Homeland security which was created post 09/11/01 in the United States. They had made a pamphlet with “what to do in emergencies” which are all fairly ridiculous and did nothing but monger fear. I chose to have them be in a grid like fashion in each on it's own, trying to represent some sort of order, but chaos ruled it- representing the text over everything.

Aine: I notice that you don’t seem to have tried woodblock with digital print - do you think you might?

Dennis: No I haven't, it's one of those things that I just haven't tried yet. Mainly because the more linear intaglio and the method of silkscreen have given me more interest through the years than relief has, but I do have some ideas at some point for relief. It's just a matter of getting there.

Aine: Finally what artwork are you focusing on at present – what are you making. Is it for a particular exhibition/ portfolio or a series with which you are long term engaged?

Dennis: There's no end goal currently with the bodies of work I'm doing presently. Although showing is always bouncing around my mind - as is a tenure track position at a college (I'm only part time adjunct at the moment), but as of now I'm just having a blast making what I'm making.

There's a variety of work currently, a “large” series of digital + silkscreen prints.

I'm also doing a series of “art products” like my “Jackson Pollock Pale Ale” beer, strangely I consider these to be print media, as they are editioned and mechanical reproductions.

And also, I've started to paint again, which I hadn't' done in quite some time and they're far from being "showable" at this point. All in all even working in a variety of mediums and embracing digital tools - at heart I still and always consider myself a printmaker/print media artist.

Thanks for giving me this opportunity to share.

Saturday, 12 July 2008

Janet Curley Cannon

Janet Curley Cannon

In her work, JCC investigates the characteristics of surface within the urban environment. Mainly those that are desolate, neglected and decaying. Textile remnants fractured paint surfaces and twisted reflections are amongst those indicators of lives lived and times past that fascinate her.

Processes Involved in her modus operandi include drawing, sketching and photography. She is an artist who likes to combine and mix media with both traditional and digital techniques. In more recent times she has made a large number of digital collages in 2d and 3d. Another mode of output has been a video animation which you can view along with all of her other works at her website

Her work is also currently on view in "LOOP08" which is an artist collective that exhibit at various UK venues thus far. The exhibition being held at the Menier Gallery in Southwark, London UK. July 1 -12th, 2008.

Friday, 11 July 2008

Tradigital Printmaking by Linden Langdon (2)

This print ( as with my previous"tradigital" print) also uses a digital layer to create the background. The print was produced as a collaborative work with a writers group, who came up with short and interesting word groups for the printmakers to respond to. We only did a small print run, and as there were quite a few participants it was decided that only archival copies of the finished book would be made. Only 8 prints were made.

The digital layer is a photo of ice on the roof of my car! The morning sun made some beautiful light contrasts and I adjusted the colour a little in Photoshop. I added the text in Photoshop as well. Then the etching layer and finally the seahorse which is a lino cut.

Linden Langdon

Friday, 16 May 2008

Joan Stuart Ross + BODY PARTS series +

Joan Stuart Ross, on her most recent series, says

"My recent mixed media prints combine relief, monotype, digital images, hand stitching, collage and encaustic on vintage book pages. They are influenced by how, throughout history, body parts of ancient cultures’ sculptures have been joined, willy-nilly, to create hybrid forms and disparate personalities. I see these buried figures, discovered in midden heaps and under piles of wars’ refuse, as motifs that emphasize vulnerability and triste, a mournful quality from their having been thrown together from incongruent parts—a lamentation for our own time. These personalities have had a place in their found environment, and when unearthed, they take on new life".

Joan Stuart Ross studied at Yale, and earned MA and MFA degrees from the University of Iowa. She won SAM’s Betty Bowen Award, a NIAUSI Rome Fellowship, and has had residencies in Paris and Norway.

Tuesday, 29 April 2008

Perter Foucault, Nigel Oxley and Sue Patterson

Peter Foucault

Peter Foucault's print was part of the Print Zero's Fifth International Print Exchange. Print Zero exchange Number 5, (2007) Be prepared for a lot of looking - there are over three hundred odd prints on view !!

In trying to discover more about Foucault as an artist, it felt like he was just all over the place/ difficult to put your finger on and so I felt that a recent solo show, of his (co-incidentally) at Print Zero studio,
provided a welcome focus although I don’t know that I am necessarily further enlightened. However one must make ones own judgements.
When one considers that Print Zero, has had five print exchanges by now, the there is quite a considerable amount of prints to be seen at their current website:
Print Zero Studios

Nigel Oxley

I was prompted to search out his artwork through reading an article in Printmaking today, which discussed printmaking experimentation in etching. I thought I would maybe find work that would be really interesting.
However, the print featured here, was/is the only artwork I could find, i.e., created by Nigel Oxley.

He is a former master printer of the Kelpra Studios, which was
established in the UK, in the 1960’s. Apparently they introduced the practice of using silkscreen printing in fine art printmaking. One imagines that until then it had been used exclusively in the commercial sector.
All of the well known UK based, artists such as Kitaj, Tilson and Blake would have taken direction/collaborated with Oxley and his colleagues. Kelpra also worked with many of the well known American artists such as e.g., Dine, to produce prints and edition. It appears that Kelpra studios is no longer in operation.

As well as working as a senior lecturer at the Metropolitan University, London, Oxley
is also the author of the book “Colour Etching” published in 2007 by A & C Black, London

With regard to more recent activities in printmaking, Oxley has collaborated with artist, Susan Aldworth in the production of experimental etching techniques. Her artwork explores various aspects of the human brain.

Sue Patterson

Another rather elusive persona is that of, Sue Patterson.
She undertook her Masters in Printmaking at the Tyler School of Art, which is part of Temple University in Philadelphia, USA.
She has exhibited at Temple Gallery, Vox Populi, , , Fabric Workshop and Museum, The University of the Arts, Moore College of Art and Design in Philadelphia; and , DE. She has been awarded Pennsylvania Council on the Arts grant in sculpture, and her work is in the collections of Sunoco Corporation among numerous private collections.

Wednesday, 2 April 2008

Teague, Jones, Kreuger, Labuz and Raines

Lets start today with a couple of pieces I found by Clare Teague both using inkjet print with silkscreen. She is either just about to graduate or has just ��� I can���t remember which. But she says that she is interested in combining the two processes i.e., traditional printmaking and inkjet.

On a more curious note is the work of Claude Jones whose works are described as ���biobobular��� (it is unclear if this was her own description or that given by another)? The title of the works as in ���Neo-Nates��� and ���Imperfecta��� give an indication as to this artists concerns. Her pieces use intaglio, inkjet and wax.

Next we have a print by Andrzej Labuz (Poland) who uses drypoint and inkjet. I came across his work in the documentation of an exhibition held in 2004 in Thailand. He won joint first prize for this piece which although we cannot see physically gives to me the sense that it is well integrated conceptually and technically. No further references were available on the web concerning Labuz; although of course with my severely limited language skills in Polish it might just be a question of interpretation as opposed to publication

Last but not least are a couple of pieces by Michael Krueger who uses Lithography with inkjet.

Dennis Raines

Look out for a forthcoming interview with artist Dennis Raines about his printmaking practice, using inkjet and whatever else suits his wide ranging and witty ideas, sometime soon !!!

Monday, 31 March 2008

Johnny McMillan, Joan Stuart Ross, Michelle Boehm and Zebadiah

Quite a mixed bag this time – there’s Johnny (Johnny McMillan) who I first came across on Flickr. He’s from Ireland, in fact graduated from the NCAD in Dublin, a few years back. The print here is from his graduation exhibition. He said it was an absolute awful hassle to make. I get the impression J. is not doing anything in terms of printmaking nowadays as he has moved to Australia and seems to present himself primarily as a photographer.

While I was on Flickr, I also found the mysterious “Zebadiah” (don’t even know his family name). This was the only tradigital print he had on there, although I could see that he does do lithographic prints as well.

Michelle Boehm, a graphic designer from Philadelphia was another “one off-er”, where making tradigital work is concerned.

My guess is that maybe MB and Z. were driven by a desire to participate in a print exchange, which of course usually requires that an edition of e.g. 15 prints be sent to the coordinator.

Consequently the idea of combining a traditional technique with inkjet seems like a good idea. Whatever the context – it can sometimes help to give other people ideas for their creative work and of course that’s one of the excellent things that the Internet has going for it.

My final entry for this post is artist Joan Stuart Ross who has a very full resume and is obviously a very committed and serious artist. As well as jurying exhibitions, and teaching she is involved in running a print workshop. She seems to mainly like to work with monoprint as well as having extensively explored encaustic as a medium.

Sunday, 30 March 2008

Colangelo, Zdzislaw, Niederhausen and Piasentin

All four of the artists are working in higher educational faculties on different parts of the American continent. Their roots, going by their family names point towards Italy, Eastern Europe, Germany and France ??.

Colangelo is a Canadian Born, American, who lives and works in St. Louis, Missouri. Where inkjet is concerned , he uses a variety of printmaking processes to accompany it. Usually he employs one technique, at a time, i.e., these include collagraph, "chine colle" or silkscreen. More of his work can be seen at the Bruno David Gallery

As well as being a printmaker, Niederhausen also makes bookart which includes altered books as well as collaborations with poets. You can see more of her work on her personal website

Sikora Zdzislaw hails from Illinois, where he teaches fine art.

Piasentin is from California and is yet another professor (Pepperdine University) . He has had many international exhibitions and likes to experiment tradigitally by incorporating collage and embossing elements.