Thursday, October 2, 2014

"Ammonite: Shore"

Third in a new series of collographs. Here's the first. The plate was made with cardboard, chipboard, and string. 


The Nautilus and the Ammonite 

The nautilus and the ammonite
Were launched in friendly strife,
Each sent to float in its tiny boat
On the wide, wide sea of life.

For each could swim on the ocean's brim,
And, when wearied, its sail could furl,
And sink to sleep in the great sea-deep,
In its palace all of pearl.

And theirs was a bliss more fair than this
Which we taste in our colder clime;
For they were rife in a tropic life—
A brighter and better clime.

They swam 'mid isles whose summer smiles
Were dimmed by no alloy;
Whose groves were palm, whose air was balm,
And life one only joy.

They sailed all day through creek and bay,
And traversed the ocean deep;

And at night they sank on a coral bank,
In its fairy bowers to sleep.

And the monsters vast of ages past
They beheld in their ocean caves;
They saw them ride in their power and pride,
And sink in their deep-sea graves.

And hand in hand, from strand to strand,
They sailed in mirth and glee;
These fairy shells, with their crystal cells,
Twin sisters of the sea.

And they came at last to a sea long past,
But as they reached its shore,
The Almighty's breath spoke out in death,
And the ammonite was no more.
So the nautilus now in its shelly prow,
As over the deep it strays,
Still seems to seek, in bay and creek,
Its companion of other days.

And alike do we, on life's stormy sea,
As we roam from shore to shore,
Thus tempest-tossed, seek the loved, the lost,
And find them on earth no more.

Yet the hope how sweet, again to meet,
As we look to a distant strand,
Where heart meets heart, and no more they part
Who meet in that better land.

-ANONYMOUS 

"Ammonite: Maladjustments"

Second in a new series of collographs. Here's the first. The plate was made with cardboard, chipboard, string and burlap. 


Frank Lloyd Wright's inverted oatmeal dish and silo with their awkward cantilevering, their jaundiced skin and the ingenious spiral ramp leading down past the abstractions which mirror the tortured maladjustments of our time. -Robert Moses 

"Ammonite: Seeker"

New series, spirals and dead things, not sure where this is going yet. This is a collograph made with cardboard, chipboard, and string. Hard to photograph and get the colors right. The paper (the light parts) is actually blue, and the ink was a very dark purple, almost black.

Ammonites are perhaps the most widely known fossil, possessing the typically ribbed spiral-form shell as pictured above. These creatures lived in the seas between 240 - 65 million years ago, when they became extinct along with the dinosaurs. The name 'ammonite' (usually lower-case) originates from the Greek Ram-horned god called Ammon. Ammonites belong to a group of predators known as cephalopods, which includes their living relatives the octopus, squid, cuttlefish and nautilus -Discovering Fossils 



Wednesday, October 1, 2014

Robert Blackburn Retrospective at the David C. Driskell Center

Last week I had the good fortune to see Passages, a retrospective of works by Modernist printmaker Robert Blackburn at the David C. Driskell Center in Maryland. It is on view through December 19. Anyone near that area interested in printmaking, Modern art, or African American art history should definitely check it out. If you can't get there, you can view all the work online here (although the Driskell Center puts a horribly large and distracting watermark across all those images), or you can purchase the show catalog here.

To my delight, the exhibit included 25 woodcuts! Almost all were made in the 1960's-70's. All are abstractions, mostly color, and many using the grain and imperfections in the block's surface or edges to add texture. I had some difficulty deciding which to highlight on this blog post. I decided on these two works, Yellow Flash and Blue Things, because I think they both read well on a computer screen, and I find them both particularly exciting. In person they are also of considerable size for woodcuts: 20" x 26" and 26" x 20".

Although it is easy to see representational imagery in many of these works, it is probably not the artist's intention, given the period and tradition in which Blackburn worked. This is further indicated by the fact that he frequently changed the orientation of his works. For instance, the version of Blue Things exhibited was oriented and signed on the bottom as it is presented here, but I have also found it upsidedown, and signed so as to indicate that orientation.

Enough of my excessive blathering on.


Yellow Flash 

The sea, quartered by fire.
No hand of Zeus, but
More than a lightening bolt.

Blue Things 

Desert or sunset,
Tumbling or at rest,
It matters not. Just look.









Monday, September 29, 2014

"The Apartment (Office Shirts)” by Stella Ebner

Image posted with the permission of the artist. Stella Ebner's large-scale screen prints are currently on view in Philly at the Print Center in the exhibit Let's Go! G-O! Go!, through November 22nd. You can also find more about Ebner on her website. 

This is one image from a series of woodcuts Ebner did in 2007. You can see others online here. I find the entire series rather compelling, particularly the ones in tones of blue. Quiet, fleeting moments of life indoors. 

I leave the closet door open most of the time. Not intentionally. There is simply no reason to close it after I retrieve what I need, and I never developed that particular habit of tidy people. As a result, when I wake up in the morning and continue lying there in bed, not yet ready to rise, I find myself staring at the shirts on hangers, lined up like deflated and pressed people in line at the DMV. 

Sometimes clothing seems so silly. Sure, in the winter it makes sense to wear all those layers of flannel and fleece, but today I went over to a friend's house at 2 in the afternoon, and her 3 year old was still running around in nothing but her underwear and a loose t-shirt, and I thought, right? 

Clothing somehow feels like a human presence. Yes, maybe that is just because they are shaped to our symmetrical, anthro forms, what with those legs and arm-like sleeves. But I suspect there is even more to it. Nakedness is a secret we forget. We define ourselves and others with our clothing. Even after we take it off, it retains a piece of our souls. I look into that closet every morning, half awake, and I feel as if I'm staring at ghosts of myself, haunting my house before I have even died. 


Sunday, September 28, 2014

Two White Line Woodcuts and My Visit to Maryland

This weekend I visited my friend C.W. Brooks and we worked in their studio at the University of Maryland.

I'm in transition at the moment, having finished Cat and Owl In Love and new nudes for Naked In New Hope. I was gearing up to start my next book project, but after spending the weekend immersed in ART, I've decided I need to take some time to play around and see where it gets me.

I have been wanting to make more white line woodcuts. My last attempts were with my single-sheet book Four Cats last November.

This weekend I managed to draw, carve, and make proofs of images from two 4" x 4" blocks. The first is a self portrait, and the second is a spiral. They are a little rough. Instead of doing the traditional inking and immediate printing of each section, I spontaneously inked up the entire blocks first (which I enjoyed a great deal as I used to be a painter and often miss painting), let it dry, then wet the surface of the paper before printing and embossing with the wooden spoon. Unfortunately I failed to achieve even moisture, so the look is more soft than I wanted. I'm thinking I need to get heavier watercolor paper and soak it in a tray of water and then evenly blot it dry next time.

The third photo is the table where I did these works and Brooks doing their thing. (Brooks is not a printmaker per say, but you should really check out their Twitter feed.)





Thursday, September 25, 2014

Joe Marshall's Shadow Set

Images posted with the permission of the artist. Find out more about Joe Marhsall's work at Pork Chop Press.

The artist calls these The Shadow Set. On their creation, he writes:

"All three prints are done on found wood that was very hard and had a lot of grain and figure in each block. I cut as little as possible to let the grain show through on the print. At the end I had to get a new set of tools."

I wrote a haikus for each one, using the same titles.

Hungry Shadow

This fur is wretched, but
When we can't find enough to eat
It gets cold.







Wave Shadow

The tide comes in, and
In trails of blood, tears, milk, cum, and spit
We dissolve.








Nameless Shadow 

A black cloud showers her
Bare back. She watches, but
We can't see her eyes.