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Exchange 76

Coordinator: Maria Arango Diener

Wanda Hemmings scanned the images (thank you!)

  • Technique challenge: None
  • Theme: “Humanity”
  • Paper size: Other ( 6 X 9 inches )
  • Image size: Any size to fit paper (any orientation)
  • Paper type: No restriction
  • Registration period: OPEN
  • Drop-out deadline: March 31, 2018 If you must drop out of the exchange, please do so as early as possible in order to give people on the waiting list time to complete and submit their prints.
  • Delivery deadline for finished prints: April 30, 2018

Chris Blank, Arlington, TX USA
Wheel of Fortune

9 x 6 in, linoleum, Speedball on sumi, edition 30.

Monica Bright, Star, ID USA

6 x 9 in, linoleum, Caligo Safe Wash relief ink on Rives BFK lightweight, edition 26. When thinking about the theme of Humanity, I pondered how to distill such a vast concept into just one thing. Really 1t is to large to do so. So, instead, I focused on our ability to speak. Since we are dual-souled creatures, we have the capacity for great good, and great evil­depending on which inner voice we listen to. We can either bless or curse those around us with the words we use. It is my hope that we embrace the blessing and leave the curse behind.

Mizael Contreras, Queretaro, Mexico

6 x 9 in, collagraphy, oil based ink on Fabriano 130gms cotton paper, edition 38.

Diane Cutter, Corrales, NM USA
Interconnected, You & Me

6 x 9 in, unmounted linoleum, Sepedball block printing ink (black) on Arches 88, edition 30. This particular theme, “Humanity”, had me running to the dictionary and other resources to get a handle on some ideas. Eventually it came down to humanity being all of us together and all connected, or interconnected, whether through country, economy, language, culture, etc. The list of human interconnection is infinite.

Maria Arango Diener, Las Vegas, NV USA

6 x 9 in, cherry plywood, Daniel Smith oil based on Handmade Clay, edition 50.
This is a small re-do based on one of my very first prints called Wood people. Human skin, that most amazing renewable organ, is eternally variable in color, texture, feel, softness, probably flavor too. I thought to represent the immense variety with a light-tan to deep-purple rainbow roll on the flesh colored paper.

Anthony DiMichele, Friday Harbor, WA USA

6 x 9 in, woodblock, Gamblin black relief ink on hosho, edition 31.

Chris Doogan, Brooklyn, NY USA
Stand Up and Be Heard

9 x 6 in, woodblock, Charbonnel on Arches Cover, edition 30. 4-color reduction woodcut

Ruth Egnater, Michigan, USA

6 x 9 in, woodblock, Akua on kitikata, edition 30.

Bea Gold, Encinitas, CA USA

9 x 6 in, one block – white line print, Akua liquid pigment on Torinoko White, edition 50. Enjoying white line prints.

Wanda Hemmings, Cambridgeshire, UK
Not Everything is Black and White

9 x 6 in, linoleum, Akua on washi, edition 30.

George Jarvis, Akita, Japan
Jarvis George – 人類 (Jinrui = Humanity)

22.9 x 15.2 cm, Matsumura shina plywood, Golden open carbon black on Idewashi kozo, edition 44. We all just passing through.

Martha Knox, Philadelphia, PA USA
Hand, Human

9 x 6 in, birch plywood, Speedball oil-based block printing ink on Stonehenge, edition 30. This is a 4 color prints done with 2 blocks, both of which were reduced once. I drew from my own hand, but I wanted to reference cataloged specimens of other primate hands, which is why I cut it off at the wrist and dropped a shadow as if It were placed on a table. I’m considering doing a small senes that includes prints such of this of hands from all the great apes.

Therese Krupp, Minneapolis, MN USA

6 x 9 in, linoleum, black relief ink on screen printing paper, edition 24. After all that snow, I just wanted summer… Blue skies, kids in pools, goofing around, movement and laughter.

Brad Ladwig, Honolulu, HA USA

6 x 9 in, three shina plywood blocks, Holbein, Sennelier, Graham, Maimeri watercolors and gouache, bokuju on nishinouchi, edition 30. One block for all the dots printed 8 times… Working harder, not smarter. Attempted a bit of baren-suji technique in the background.

Theresa Martin, Lawrence, KS USA

9 x 6 in, collagraph (manilla folder cut and glued onto matboard), Gamblin oil-based relief ink on Stonehenge, edition 29. I’ve never relief-printed a collagraph before. I had this large block that I made one intaglio print of and didn’t really like, but I really liked the image of the man’s face, cropped and especially relief-printed black on white paper. It spoke to me of humanity more than anything else I’d been thinking about doing for
this exchange.

August Mezzetta, Venice, FL USA
Ancients’ Art

9 x 6 in, 3/8in birch plywood, Akua on unbleached mulberry 45gsm neutral ph, edition 33. Akua ink takes long to dry, please try to avoid touching image, tnx.

Julio Rodriguez, Skokie, IL USA
Humanity – Reaching for the Stars

9 x 6 in, linoleum, Blicks water soluble woodblock inks on Rives heavy – white, edition 35. This Art Deco inspired image depicts mankind’s search for adventure in the form of a standing lady reaching for the stars. Carved in linoleum and printed in two steps with woodblock water based inks

Lindsay Schwartz, Portland, OR USA
Reflection; Maryhill

9 x 6 in, linoleum, Speedball water soluble ink on Stonehenge, canson, edition 31.

Robert Simola, California USA
Finnegans Wake

9 x 6 in, Castello boxwood, Van Son on unknown paper, edition 50. My take on humanity is ‘Finnegans Wake,’ a wood engraving using Castillo boxwood. It is an ekphrastic print and the poem that goes with the print is the following: Finnegans Wake – you notice how the ending dribbles out to nothing? ‘a last, a loved, along the’ It’s out of gas. It can’t complete the thought unless you start the cycle once again at riverrun, but who would read the thing a second time or even read it once? The book is better if it’s not been read. It’s like a lot of things that’s better left to our imagination-like this poem Once this poem’s written down and read it’s fixed. It’s formulated on a pin. It’s dead. There isn’t any movement, life. It’s static. Moribund. Deceased. And so there isn’t any poem here today It’s left unwritten, left to gestate, and I chose this because for me here is neither certainty, completeness, nor the possibility of defining what humanity is or will become. Instead there is a cycle that repeats but never repeats to completion much like James Joyce’s novel, Finnegans Wake.

Joseph Taylor, Evanston, IL USA

9 x 6 in, birch plywood, Graphic Chemical franklin black on sumii pad, edition 40.

Anne van Oppen, Southern CA USA

9 x 6 in, linoleum, Caligo Safe Wash and Carbonnel Aqua Wash on unknown paper, edition 30. I did not plan well for the spider in this reduction cut. So I cut a stamp out of a gum eraser and added him at the end. I hand-dyed the paper before printing.

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