I have been dragging my feet getting started back up with my printmaking. Instead, I have been taking some photos by the Bellingham industrial waterfront. Bellingham is in the process of demolishing and cleaning up the remnants of a former paper mill. It is a very polluted site — issues with mercury leakage. Although I am sad about the environmental aspect, I will miss these structures. Also included are some shots from a nearby shipyard and the ferry terminal.
PUPS members Stephen MacFarlane, David Owen Hastings, Jon Taylor, and Iskra Johnson and I will be exhibiting at Seattle Sampling Studio Tour December 4-6.
**VISIT SEATTLESAMPLING.COM FOR MAP**
Friday Dec. 4: 4 PM to 9 PM
Saturday Dec. 5: 10 AM to 5 PM
Sunday Dec. 6: 10 AM to 5 PM
Join us Friday 4-9 PM for first choice of art, wine and cheese.
Primary location for PUPS is Studio 4,
4000 Aurora Ave N. #104 & #118
Seattle, WA 98103
(Best to approach from Stoneway or if you are already heading north on Aurora. Parking lot available after 6 PM Friday and all weekend. Building is on NE corner of 40th and Aurora.)
David Owen Hastings will be at Sites 5&6,
Blowing Sands Glass Studio & Halvorsen Studio
5805 14th Ave NW • Seattle, WA 98107
See the Seattle Sampling tour map, including all 12 studios, here. (http://www.seattlesampling.com/map.html)
Preview work on the PUPS Facebook page: https://www.facebook.com/PaintersUnderPressure
The majority of my prints have a side to them that most people never see. If you are a fan of monotype, you will know that I am referring to the back of the print. One of my signature monotype techniques is drawing or writing on the back of the paper to pick up ink from the plate.
The example above shows, from right to left, Second Chances (front), Second Chances (back), and Quattro. Second Chances was completed in 2013. Quattro is from 2003. If you look at the back of Second Chances, you can see vestiges of a Quattro print. In 2003, I made 4 prints in the Quattro series that I was really happywith, which subsequently sold. Apparently, the image underlying Second Chances didn’t make the cut. Atsome point, I added the layer with the greenish-tan background and the orange rectangular shapes, and some friends renamed the print “Gluten-Free Toast on a String”. It sat in my percolation folder for another couple of years until this year, when I added the text, which primarily has to do with anxiety. Technically, this print belongs in my Revenge series, which I am considering renaming Cathartic Caterwauls or something less dark.
Several people were not able to make it to my event in February, so I am having another open house on August 12 from 2 to 5 PM. This time the proceeds are to help cover the costs of attending the Artist Trust EDGE professional development program in Port Townsend, which will be August 18 – 25. To read more about the EDGE program, follow this link:
I have several new small pieces, as well as a handful of larger prints that I have completed since February.
The Random Name Generator will be on hand again to help with the naming of the small cellular prints that I am selling for $35, which is a great price for an original print. With the exception of my new work, my inventory will be half price for this event.
Once again, I have commissioned my friend Sarah Tompkins to make Red Velvet cake.
Please stop by, whether you want to purchase some art, or to just have some delicious cake and to say “hi”. If you think you will be able to attend, please let me know, and I will send you directions to the event. I am not posting directions here because I would like to have some idea of how many people to expect. So please fill out this form if you plan to come. Feel free to bring a friend. Hope to see you there!
You wake up in the morning, you don’t know where you are, or what day it is. You hope you didn’t do anything stupid the night before. . . This is how I felt this morning with my phone and my snooze alarm going off at the same time. I am in a horrible allergy haze and feel disoriented from my late night of printmaking last night, preceded by my lack of sleep the night before last. Fortunately I documented last night’s efforts, so I have proof of my actions. . .
People often ask me why I only make one of each of my prints. Why not make a bunch? It would be a much more efficient use of my time. Monotype printmaking differs from popular methods such as silkscreen, etching, lithography, or letterpress printing in that I paint on a smooth surface (called a plate), and then transfer that image onto paper. I do not cut into it, I do not add to it. The plates remain smooth, so they are reusable. My editions are labeled 1/1, since each monotype is an original. Monotype prints are basically paintings on paper made using a transfer process.
Unlike silkscreen, I can use as many colors as I want, all at once. I can do a single pass through the press, lots of passes through the press building layer upon layer of color and texture, or I can do no passes through the press and simply create my image by drawing on the back of the paper.
Most of my prints have layers and layers of paint. Often, I will print something that is totally unrelated to what is already on the paper, just to see what happens. So when people ask if I can make them a print like an earlier print of mine, my response is always, “I can try, but it won’t be exactly the same”. If you are ever at my studio, take a look at the back of some of my prints to see what sort of marks I made for texture, or what I might have drawn. It is very likely that the back of the print is nothing like the front, having been obliterated by 10 or 20 layers of paint.
Right now I am making a version of this print for some friends:
And, good thing that I am doing this post, because now I see that I have actually been working on a version of:
Well, good thing I have three different attempts started. Part of the fun of doing a commission is that I always end up with a couple of extra prints and can give people a choice of prints. I guess it might be time to stretch some more paper!!!