Coordinator: Barbara Mason
Scans provided by Wanda Hemmings (thank you!)
- Technique challenge: None
- Theme: OPEN
- Paper size: Oban 10 X 15 inches (25.5 x 38 cm)
- Image size: Any size to fit paper (any orientation)
- Paper type: No restriction
- Drop-out deadline: June 30, 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: August 31, 2018
Kristine Alder, St. George, UT USA
15 x 10 in, linoleum, Graphic Chemical bone black on unknown paper, edition 30. One of my favorite places on Earth is Fishlake, Utah. The beautiful lake rests in the caldera of an extinct volcano, surrounded by quakies (quaking aspens) and pines. Among the quaky groves is Pando, an ancient male clonal colony aspen grove that covers 106 acres and weighs nearly 6,600 short tons making it the largest single living organism in the world. Over 40,000 stems sprout from a single root system. the roots are over 80,000 years old with the average age of Pando’s stems being 130 years old as measured by growth rings. It is sometimes called the Trembling Giant. To me it is just a very old friend.
Chris Blank, Arlington, TX USA
Sophie and Keiki, Angel Puppies
10 x 15 in, linoleum, Trueflow on Rives, edition open.
Diane Cutter, Corrales, NM USA
Old Town Faithful
15 x 10 in, shina plywood, Cahrbonnel etching noir de carbone on Canson bright white, edition open. I’ve always loved the look of the Catholic church on Albuquerque’s Old Town Plaza. San Felipe de Neri, one of our oldest surviving buildings, was built in 1793 during the Spanish colonial period. A gothic revival adobe, it replaced another church before it. It has been in continuous use ever since, a vital part of the older section of the city.
Maria Arango Diener, Las Vegas, NV USA
Not Too Far to Walk
10 x 15 in, Corian synthetic resin, Gamblin Portland black OB on BFK Light Buff, edition 100. 1000woodcuts.com I was going to call this piece \”promised land\” but being a realist I understand there is no such thing in life. All we have is our respective journeys and our feet. Once the walk begins, there is no place that is too far to walk if we just have the stubborn inclination to keep walking. The light guides us, surrounded aloft and afoot by prickly, sharp, hard and biting things, we bear all, we move onward to the destination, distant yet attainable and somehow irrelevant. Walking the journey is life, one step at a time. ‘Not too far to walk’ is a a song by John Huling, largely unknown master flutist who publishes most inspiring native nature revering Southwest music.
Anthony DiMichele, Friday Harbor, WA USA
Look Out Tower (Ft. Mott, NJ)
15 x 10 in, birch, Speedball professional supergraphic black on Thai kozo, edition 30. Printed by had with a handmade baren constructed by attaching a (note: that’s all the colophon had)
Gillyin Gatto, Machias, ME USA
Old Woman and the Sea
15 x 10 in, linoleum, Portland intense black on kinwashi white, edition 77. A tribute to my late mother in law who wa walking the beach on Topsail Island, NC at 94.
Wanda Hemmings, Cambridgeshire, UK
15 x 10 in, two linoleum blocks, Akua on washi, edition 25.
George Jarvis, Akita, Japan
秋風 (Akikaze = Autumn Breeze)
38 x 25.5 cm, birch plywood, Golden open carbon black on Echizen Torinoko, edition 30.
Sue Kallaugher, Baltimore, MD USA
15 x 10 in, birch plywood, watercolor and intaglio on Rives heavyweight & Rives lightweight, edition 24. I had to mix hand baren printing with homemade press printing due to a hand injury limiting my mobility. This was an interesting learning experience as I have no training and little experience with press printing. The combination of Baltimore humidity, different papers, different methods of printing on one print produced a not-best-quality print, but a lot of ‘what not to do’s.
Martha Knox, Philadelphia, PA USA
15 x 10 in, plywood, Gamblin relief ink on Fawn-colored Stonehenge, edition 23. This is simply a print of my friend and his dot that I wanted to create.
Allan Lennie, West Linton, Scotland
15 x 10 in, lime plywood, Daler Rowney, Schmincle, Bunpodo on Fabriano Artistico, edition 31.
Theresa Martin, Lawrence, KS USA
15 x 10 in, linoleum, Gamblin oil-based relief ink on Stonehenge, edition open. There’s so much going on in the world (and our country) to be outraged with, but sometimes it gets to be too much. This _is _the first in a series (I’m up to six images so far) of things we just don’t want to look at. The other titles are ‘Disenfranchisement,’ ‘Beyond Carrying Capacity,’ ‘American Underclass,’ ‘Shared Futures,’ and ‘Me Too.’
Barbara Mason, Hillsboro, OR USA
15 x 10 in, Shina from McClains, Akua pigments on handmade paper from Mexico, edition 22. I thought the paper made it look like it was snowing.
August Mezzetta, Punta Gorda, FL USA
Geisha, bathing; a reproduction
15 x 10 in, poplar, Akua liquid pigment on nishinouchi, 140 cotton, Amem 1618, 90lb white, cotton 140 lb, edition open.
Chris Roberts, Illinois, USA
15 x 10 in, four blocks, Daniel Smith watercolors on shin, edition 30. Four color four block print. Just my third print made but thoroughly enjoyed process.
Julio Rodriguez, Skokie, IL USA
15 x 10 in, linoleum, Ocaldo water inks on Rivers White – Heavy, edition open. Strong woman figure pushing back against the established norms that have allowed men to get away with sexual abuse for so many years. The grey skies and dark cloud are a symbol of the ongoing battle and the turning tide. The larger circles within the large column are images of sexual abusers.
Andrew Stone, Florence, Italy / Santa Cruz, CA USA
15 x 10 in, shina plywood, sumi, tube watercolors, rice paste on Masa (McClains), edition 25 + 4 A/P. In the Italian stone quarries, this is how they split the mammoth blocks of stone-with drill bits making holes in a line on the surface and with metal wedges that are gently tapped in place and left overnight. The stone is usually found split the next morning. This was printed from 3
Joseph Taylor, Evanston, IL USA
15 x 10 in, birch plywood, Speedball inks on sekishu, edition 30. www.joetaylorart.com