I have created prints (mostly monoprints and woodblock prints), many of which I have used in my assemblages and books. They rarely remain solely a framed print. I almost always add some found objects to make them more three dimensional and to reflect the chapardeur (magpie) in me. I'm sure I have frustrated my printmaking teachers and friends along the way.
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Cypress Trees I and II
Woodblock print with collaged papers and colored pencil on paper; framed. 13"x17". 2017
Woodblock print with collaged papers and colored pencil on paper; framed. 13"x17". 2017
Ce n'est pas Ce n'est pas (Homage to Magritte)
Woodcut prints on paper. 18"x26". 2018
Woodcut prints on paper. 18"x26". 2018
Merrilee and Jennifer at Oxbow
Merrilee and I used a piece of plexiglass as support when we were cutting shapes on paper; so there were many shallow cuts on the plexiglass. On a whim, we spread ink on the plexiglass and put it through the press...here is the result. It worked only one time.
And then, I added found objects. Ink on paper, found objects, beads, washers. 5"x8" 2017.
Merrilee and I used a piece of plexiglass as support when we were cutting shapes on paper; so there were many shallow cuts on the plexiglass. On a whim, we spread ink on the plexiglass and put it through the press...here is the result. It worked only one time.
And then, I added found objects. Ink on paper, found objects, beads, washers. 5"x8" 2017.
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Myungah and Me
Myungah Hyon is an artist and an art teacher. She was my teacher at Oxbow in 2018. I purchased these two woodcut prints from Myungah, which she made while we were at Oxbow. Once I returned home, I added found objects. So they are now a collaboration and could not have been created without her extraordinary talent. Ink on paper, found metal objects. 13"x17". 2018 & 2019.
Myungah Hyon is an artist and an art teacher. She was my teacher at Oxbow in 2018. I purchased these two woodcut prints from Myungah, which she made while we were at Oxbow. Once I returned home, I added found objects. So they are now a collaboration and could not have been created without her extraordinary talent. Ink on paper, found metal objects. 13"x17". 2018 & 2019.
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Untitled 1 and Untitled 2
Layered woodblock prints, collage papers, indigo dyed paper, all on butcher paper, framed. 13" x 17". 2018
Layered woodblock prints, collage papers, indigo dyed paper, all on butcher paper, framed. 13" x 17". 2018
Whiskers and Whispers I and II
Monoprints with collage papers on watercolor paper. 13"x17". 2018/2020 |
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Full Sturgeon Moon
Monoprint with collage papers, metal found objects and thread on watercolor paper. 7"x9". 2020 |
Below the Surface
Monoprint with collage papers on watercolor paper. 11"x14". 2020 |
Three Washers
Monoprint with collage papers, metal found objects and thread on watercolor paper. 9"x11". 2020 |
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Orange Triangle
Monoprint with collage papers on watercolor paper. 9"x11". 2020 |
Every Last Leaf Shivers in the Sun
Monoprint with collage papers, metal found objects and thread on watercolor paper. 9"x11". 2020 |
Framed
Monoprint with collage papers, metal found objects and thread on watercolor paper. 7"x11". 2020 |
Luchita's Overstory
While reading an extraordinary book, The Overstory by Richard Powers, I was inspired by the description of the humanness of trees; the celebration of, and connections between, humans and trees. The design of the linocut draws inspiration from the works of the late artist Luchita Hurtado, of bodies merging with landscapes, of rootedness. Hurtado is quoted as saying
“Everything in this world, I find, I’m related to.”
I find the same holds true for me, as I have diverse sources of inspiration in my art, including folklore (my major at Berkeley) and ancient traditions – Australian aboriginal spirituality, African griottes and minkisi, Mexican milagros, Native American folklore, Swedish traditions, the Buddhist ancestral roll call – as well as contemporary concepts of feminism and cultural inequities. The woman in this linocut is celebrating life, merging graphically and emotionally with those beautiful trees.
And then I had to recreate the design onto a ceramic tile I made; which I then attached to, and created, a mosaic as a frame.
Mosaic: wediboard, glass, smalti and ceramic pieces, beads, ceramic tile. 13"x18". 2020
Linocut: paper, ink, frame. 13"x18". 2020.
While reading an extraordinary book, The Overstory by Richard Powers, I was inspired by the description of the humanness of trees; the celebration of, and connections between, humans and trees. The design of the linocut draws inspiration from the works of the late artist Luchita Hurtado, of bodies merging with landscapes, of rootedness. Hurtado is quoted as saying
“Everything in this world, I find, I’m related to.”
I find the same holds true for me, as I have diverse sources of inspiration in my art, including folklore (my major at Berkeley) and ancient traditions – Australian aboriginal spirituality, African griottes and minkisi, Mexican milagros, Native American folklore, Swedish traditions, the Buddhist ancestral roll call – as well as contemporary concepts of feminism and cultural inequities. The woman in this linocut is celebrating life, merging graphically and emotionally with those beautiful trees.
And then I had to recreate the design onto a ceramic tile I made; which I then attached to, and created, a mosaic as a frame.
Mosaic: wediboard, glass, smalti and ceramic pieces, beads, ceramic tile. 13"x18". 2020
Linocut: paper, ink, frame. 13"x18". 2020.
