Annual Exhibition of Original Printmaking
Mary N. Balcomb, etcher, author, designer, 1928-2013 www.marynbalcomb.com. Her extensive range of subject matter includes architecture, animals, the human figure, trees, flowers, birds and insects. Because of her love of drawing and her drawing abilities, the intaglio, particularly line etching, carried a particular fascination for her. The graceful lines that fill each composition attest to her skill, while thoughtful hand coloring adds to her understanding of each subject.
Lynn Brofsky, monotype, photo transfer. “Moved by the sensuality of the human figure, asymmetry, architecture, landscape, growth and decay, and perceived connections, I attempt to relate my stories, my own narrative of contrasts. I have found that more than anything, the driving force in my work is the relationship between place and human experience.”
Gary Groves, woodcut. “Im interested in trying to pull something from the rocks that most people go by and will never see.” Gary is represented by Augen Gallery, Portland, OR.
Denise Kester, monotype. Denise Kester is an internationally recognized artist and teacher. She has been teaching workshops and classes for 20 years in the creative arts including monoprinting, collage, mixed media, and book arts. “I am an artist working to tell stories from my heart, stories that I dream and that dream me. I am painting, drawing, and creating images that have a life of their own.”
Kathryn Lesh, monotypes. “I am continually amazed by the magic of monotypes. They demand total attention to detail, yet always yield unintended effects. I plan and sketch and prepare, yet at some point, the image invariably takes over, driving the process. I find profound satisfaction in the tools, the techniques, and the unexpected results.”
Stephen MacFarlane, monotype, charcoal. “Combining a passion for drawing and color, I found printmaking to be a perfect form of expression. Monotype is essentially a painting done on a printing plate that is run through a press, transferring the image to the paper, each piece distinctive and unique.” “…intuitively, I strive to distill each piece to it’s essential components in a direct yet spontaneous way.”
Fumi Matsumoto, linocut on teabag papers. “Each image is an individual linocut “stamp” that is inked and placed on teabags which have been glued together. One print can have many “stampings” of different images. Birds are a wonderful theme for artwork. The intelligence of birds, particularly parrots and corvids (including ravens, jays, magpies and crows) is impressive. The teabags are from various teas that I have and drink at home. The lighter sheets are from green tea or herbal teas, the darker ones are from black teas.”
Simon Patrick, linocut. The most basic element of “relief” printmaking is the printing block which is simply made up of an 1/8 layer of linoleum, glued to a plank of wood. The linoleum surface can be tooled in any imaginable way to create an interesting texture. In the method Simon uses, each color usually requires a separate block, that means producing between six and eight blocks. Printmaking produces a mirror image so the blocks must be hand carved in reverse. “My ideas originally stem from the sciences,” Originally from Wyoming, Simon was floored by the sensation of walking up to a real ocean for the first time.
Pamela Wachtler, monotype, mixed media. Reflecting this American Impressionistic style of “The Philadelphia 10”, painters of the 1900’s, Wachtler carries on this tradition in oil and printmaking. “The world’s landscape is a beautiful place, and that’s what I try to capture in my paintings. Even ordinary life offers magical moments for my canvas.” While her original monotype prints add a different dimension to her artistic expression, Wachtler delivers a sublime rendering of the Northwest landscape.