"Carrots"

 

"Carrots" 
2 versions of a Linocut with chine colle, 6”x 6” (block). 

Ah, the colorful vegetable that's in season all year round. Most of the carrots I get in my CSA end up in the juicer. Although sometimes I make cooked "honey carrots" for the kids.

This is the fourth print created for my 2022 art calendar illustrating select items from my CSA. 

The process for these is that I arrange, photograph, sketch first, then carve into a linoblock and print, adding chine collé of for color. I will eventually be doing a hand-colored version. 

This is supposed to be in connection with the Red Earth Farm CSA project I did in 2018. 

"Apples"

 

"Apples" 
2 versions of a Linocut with chine colle, 6”x 6” (block). 

We've been enjoying a lot of apples this autumn, and I just love how this print turned out! 

This is the fourth print created for my 2022 art calendar illustrating select items from my CSA. 

The process for these is that I arrange, photograph, sketch first, then carve into a linoblock and print, adding chine collé of for color. I will eventually be doing a hand-colored version. 

This is supposed to be in connection with the Red Earth Farm CSA project I did in 2018. 

"Watermelon"

 

"Watermelon" 
2 versions of a Linocut with chine colle, 6”x 6” (block). 

This is the fifth print created for my 2022 art calendar illustrating select items from my CSA. Our family enjoys watermelon all summer, and this was a drawing from the last watermelon of this summer season that I bought. 

The process for these is that I arrange, photograph, sketch first, then carve into a linoblock and print, adding chine collé of for color. I will eventually be doing a hand-colored version. 

This is supposed to be in connection with the Red Earth Farm CSA project I did in 2018. 

"Rainbow Chard"

 

"Rainbow Chard" 
2 versions of a Linocut with chine colle, 6”x 6” (block). 

This is the fourth print created for my 2022 art calendar illustrating select items from my CSA. 

The process for these is that I arrange, photograph, sketch first, then carve into a linoblock and print, adding chine collé of for color. I will eventually be doing a hand-colored version. 

This is supposed to be in connection with the Red Earth Farm CSA project I did in 2018. 

"Sunflowers"

 

"Sunflowers" 
2 versions of a Linocut with chine colle, 6”x 6” (block). 

This is the third print created for my 2022 art calendar illustrating select items from my CSA. 

The process for these is that I arrange, photograph, sketch first, then carve into a linoblock and print, adding chine collé of for color. I will eventually be doing a hand-colored version. 

This is supposed to be in connection with the Red Earth Farm CSA project I did in 2018. 

"Mini Sweet Peppers"

 

"Mini Sweet Peppers" 
3 versions of a Linocut with chine colle, 6”x 6” (block). 

This is the second print created for my 2022 art calendar illustrating select items from my CSA. 

The process for these is that I arrange, photographe, sketch first, then carve into a linoblock and print, adding chine collé of for color. I'm also doing to do a hand-colored version after the ink dries on the others I printed. (Not there yet, but soon!)  

This is supposed to be in connection with the Red Earth Farm CSA project I did in 2018.  

"Tomatoes (Slicers)"

 

"Tomatoes (Slicers)" 
Linocut with chine collé on white Stonehenge 
8" x 8" 

I've been working on some illustrations of items from my CSA toward creating a 2022 art calendar. 

Below are some different versions of this same image of some tomatoes I arranged, photographed, sketched and watercolor painted, carved into a linoblock and printed. I'm also doing to do a hand-colored version after the ink dries on the others I printed. 

This is supposed to be in connection with the Red Earth Farm CSA project I did in 2018. This was a time-based conceptual paper making project that lasted the duration of the CSA (22 weeks). In 2019 I added a couple illustrative woodcuts with chine collé of myself engaged in the project. 

At the time I had also considered illustrating many of the actual items (local fruit, vegetables, herbs, and flowers) I received every week, but never really landed on an approach. But the idea stuck in my brain, and this year combined with my desire to do a 2022 art calendar. Since I never could decide on an approach to how to illustrate these items, I've decided to just photograph and draw and paint and print and I'm even going to make some ceramic trivets with glazed illustrations, in the hopes that 12 cohesive images for a calendar will come out of it in time. Conceptually, that seems to align best with the original project which had to do with the process of domestic chores connected with acquiring and preparing food. During that project, there were time constraints and rules to the projects, and whatever paper came out of the process, that was the finished product. Here it will be the same. I'm going to produce these images in the time frame I have available, and when the deadline arrives, I'll make a decision about whether I have something publishable or not. 

Below are some of the other versions of this image I made so far. 

"Colette"

 

"Colette" Woodcut Gamblin ink on white Stonehenge 8" x 12" (block), 10" x 15" (paper) This is yet another print of a friend's dog. In this case a miniature poodle. I got a little obsessed with competing patterns in this one. The metal dog sculpture in the foreground is easier to see and has more personality than the living dog sitting on the chair. Even though I made this for a friend, I think how I feel about life right now seeped into how I put this image together. Chaos and competing interests reign supreme.

101 Artists Video Contribution

 I have a woodcut in the exhibition 101 Artists, selections from the Fred Danziger Collection. This was recently exhibited at Gallery222 in Malvern and now from July 9-October 9 it will also be shown at Southern Alleghenies Museum of Art, Altoona, PA. Incidentally, Fred Danziger's work can be seen on his website.

Participating artists were invited to make short video contributions about our work for the show, and this is mine: 

"Faolan"

 

"Faolan" 
8" x 10" 
Woodcut with chine-collé
Unique print 

This a commemorative wood block print of a friend's dog that passed away within the last year. I only met this sweet dog once, but really enjoyed his company. He lived with Lucy, who also passed away a few months ago. I managed to snap a good photo of Faolan and used it as a reference for this print. I decided on chine-collé to capture the mottled colors in his fur. 

all his sweet and shaggy life,
always near me, never troubling me,
and asking nothing.

-Pablo Neruda 

"Paco"

 

"Paco" 
8" x 8"
2 layer reduction woodcut with hand coloring 
Unique print 

This a commemorative wood block print of my parents dog Paco. As a puppy, Paco was dumped on a farm. He had Parvovirus and would have died had it not been for the kindness of the couple at Artcroft Creative Center who found him. They gave him to me to give to my parents. Paco passed away last month after a long happy life with doting humans, many walks, runs, swims, road trips and cozy naps. He was sweet and stubborn and oh so shaggy. Paco will be missed by many who loved him.

Untitled (Created for the 2020 Emerald Print Exchange at Whiteaker Printmakers)

 

Untitled 
5" x 7" 
Woodcut 
Oil based ink on grey Stonehenge paper 
Open edition of 12 plus 6 artist proofs 

I created this print for this year's Emerald Print Exchange at Whiteaker Printmakers. All works from that exchange can be viewed online here. 

"The Wedding" Re-created

 

I re-created "The Wedding" print from my book "Owl and Cat In Love" recently. Click here to see the original. This new version is a 5 layer reduction and only an edition of 2. It was special made for a collector. It's also the mirror image of the original because I drew the image directly on the block.

It was definitely an interesting experience to re-create a print I first made 7 years ago. When I started, I really didn't want to do it. It felt like forcing myself to do something that I'd long moved on from. But about halfway through I kind of got into it. It felt a bit like visiting a place from my past that I don't go to anymore and that has changed, but of which I had very fond memories. 

Not that I want to do this again. It took a long time, and I am generally way more interested in finding time for my current projects, especially since my studio time is so limited. But yeah, glad I did this once just for the experience. 

"Sub Rise"

 

6" x 6" (image), 9" x 9" (paper)
3 layer reduction linocut
Oil-based ink (Gamblin)
Edition of 6

This is a print made to celebrate the latest birth of a child in my extended family. This new baby boy is my cousin's second child, and so I made his print as a companion piece to "Sky Ship" - a print I made for his big brother 5 years ago. Since that print featured sea creatures (flying fish) and a boat  in the sky, I decided to do an underwater scene but with creatures moving toward the light and the surface. In the other print a figure stands at the port of a sailboat, and here a figure looks out from the window of a toy-like submarine. Both images mean to depict a brightly colored world of possibilities and longing for discovery. 

The sea! the sea! the open sea! The blue, the fresh, the ever free! Without a mark, without a bound, It runneth the earth's wide regions round! It plays with the clouds; it mocks the skies; Or like a cradled creature lies. I'm on the sea! I'm on the sea! I am where I would ever be; With the blue above, and the blue below, And silence wheresoe'er I go; If a storm should come and awake the deep, What mater? I shall ride and sleep.                           From "The Sea" by Barry Cornwall

"California's Convict Firefighters" (Wages U.S.A.)

 

California's Convict Firefighters 
Woodcut 
8" x 6" 
Artist Proof  

This is the start of a new book project: Wages U.S.A. It's partially inspired by Helen West Heller's Woodcuts U.S.A., which I wrote about 5 years ago on this blog. Mine is going to be a series of 36 prints depicting Americans engaged in various occupations.

The prints will be separated into 3 sections, 1. No Wage, 2. Low Wage, 3. Living Wage. This print would go in the second section as it illustrates prison inmates doing paid work, but they are paid considerably less than minimum wage for their labor. Convicts have worked as firefighters in California for decades, often part of emergency response teams. 

Deadlines Passed for "Submission Fee No. 158", "No. 159", and "No. 160"

This is documentation of the unsold prints (burned) and the discontinued blocks (gouged) of "Submission Fee No. 158", "Submission Fee No. 159" and "Submission Fee No. 160". 

NOTES:

4 copies of "No. 158" were created. One artist's proof was archived. 3 from the edition were sold for less than $50, therefore no submission was made. 

5 copies of "No. 159" were created. One artist's proof was archived. 3 from the edition were sold for less than $25, therefore no submission was made. The last 1 was destroyed.

5 copies of "No. 160" were created. One artist's proof was archived. 3 from the edition were sold for less than $25, therefore no submission was made. The last 1 was destroyed.

"Submission Fee No. 160"

"Submission Fee No. 160" 5" x 6" Woodcut Edition of 4 Pay what you want by August 29

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:

Institution:   Tall Grass Gallery
Venue Location: Park Forest, IL 

Opportunity:  “Growl, Howl, Moo, Baa, Roar” juried exhibition 

Eligibility: 

Potential Benefits for Artists:
Notes:   Curators and Jurors for the exhibit are Claudia Craemer, artist, juror and curator for numerous regional solo and group exhibits, and Debbie Craemer, Gallery takes a 30% commission
Fee:   $25 for up to 5 entries

"Submission Fee No. 159"

"Submission Fee No. 159" 3.5" x 5.5" Woodcut Edition of 4 Pay what you want by August 28

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:

Institution:   Sebastopol Center for the Arts
Venue Location: ONLINE 

Opportunity:  “Who Are You?” Juried exhibition 

Eligibility: worldwide 

Potential Benefits for Artists: $300 Best of Show, Second place $200, Third place $100, Merit Awards. Student award, First place $100, Second place $50
Notes:  
Fee:   SCA Members $20 per entry or 3 entries for $45 (basic membership is $50 annually) Non-members $25 per entry or 3 entries for $60.

Under 21: $10 per piece

"Submission Fee No. 158"

"Submission Fee No. 158" 4" x 5.5" Linocut with chine colle Edition of 3 Pay what you want by August 21

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:

Institution:   National Collage Society, Inc.
Venue Location: ONLINE 

Opportunity:  2020 Juried Exhibit 

Eligibility:

Potential Benefits for Artists:
Notes:  
Fee:   $50 for non NCS members, $15 for current NCS Members 

Deadlines Passed for "Submission Fee No. 145-157"

 This is documentation of the unsold prints (burned) and the discontinued blocks (gouged) of
"Submission Fee No. 145"
"Submission Fee No. 146"
"Submission Fee No. 147" 
"Submission Fee No. 148" 
"Submission Fee No. 149" 
"Submission Fee No. 150" 
"Submission Fee No. 151" 
"Submission Fee No. 152" 
"Submission Fee No. 153"
"Submission Fee No. 154" 
"Submission Fee No. 155" 
"Submission Fee No. 156" 
"Submission Fee No. 157" 

NOTES:

6 copies of "No. 145" were created. One artist's proof was archived. 3 from the edition were sold for less than $5, therefore no submission was made. The last 2 were destroyed.

6 copies of "No. 146" were created. One artist's proof was archived. 4 from the edition were sold for at least $15, therefore a submission was made to the "2020 Juried Exhibition: Masters as Muses" at the Cedarburg Art Museum. The last 1 was destroyed.

6 copies of "No. 147" were created. One artist's proof was archived. 3 from the edition were sold for less than $35, therefore no submission was made. The last 2 were destroyed.

5 copies of "No. 148" were created. One artist's proof was archived. 3 from the edition were sold for less than $10, therefore no submission was made. The last 1 was destroyed.

6 copies of "No. 149" were created. One artist's proof was archived. 3 from the edition were sold for less than $30, therefore no submission was made. The last 2 were destroyed.

6 copies of "No. 150" were created. One artist's proof was archived. 3 from the edition were sold for less than $25, therefore no submission was made. The last 2 were destroyed.

5 copies of "No. 151" were created. One artist's proof was archived. 3 from the edition were sold for less than $30, therefore no submission was made. The last 1 was destroyed.

6 copies of "No. 152" were created. One artist's proof was archived. 3 from the edition were sold for less than $35, therefore no submission was made. The last 2 were destroyed.

5 copies of "No. 153" were created. One artist's proof was archived. 3 from the edition were sold for less than $35, therefore no submission was made. The last 1 was destroyed.

9 copies of "No. 154" were created. One artist's proof was archived. 3 from the edition were sold for less than $125, therefore no submission was made. The last 4 were destroyed.

5 copies of "No. 155" were created. One artist's proof was archived. 3 from the edition were sold for less than $20, therefore no submission was made. The last 1 was destroyed.

4 copies of "No. 156" were created. One artist's proof was archived. 3 from the edition were sold for less than $10, therefore no submission was made. None were destroyed.
5 copies of "No. 157" were created. One artist's proof was archived. 3 from the edition were sold for less than $35, therefore no submission was made. The last 1 was destroyed.