Coordinator: Laura Szabo-Roberts
- Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper)
- Theme: OPEN
- Paper Size: 8 X 10 inches
- Registration period: Four weeks starting December 1, 2020 – January 1
- Deadline for finished prints: February 28, 2021
Viza Arlington, Cheyney, WA (USA)
8 x 10 in, (2) blocks linoleum / Dollar Store Lego Base, Black oil based ink on Rives BFK, edition 25. Linocut with Dollar Store Lego Base “shomen-zuri” for the spots
Linda J. Beeman, Owosso, MI (USA)
Grand Canyon Dusk with Yoshida Clouds
8 x 10 in, (14) shina plywood, Lukus watercolors on Echizen kozo, edition 35. I greatly admire the work of Hiroshi Yoshida and always say he’s who I want to be when I grow up. He did a beautiful print of the Grand Canyon in 1925 that inspired my colors. The clouds are my homage to him. I had many challenges with this last year inccluding cataract surgery. I am relearning carving and printing from a new perspective. Hence, 14 blocks! The most I have ever used for one print. lindajbeeman.com
John P Center, Chicago, IL (USA)
10 x 8 in, hard maple & wood type, Daniel Steelwater base ink black for relif and letterpress, color ink water based Graphic Chemical on Bristol acid free, edition 30.
Bea Gold, Encinitas, CA (USA)
10 x 8 in, unknown block, inknown pigments on unknown paper, edition 50.
George Jarvis, Akita (Japan)
鏡 (Kagami: Mirror)
25.4 x 20.3 cm, Matsumura shina plywood, Golden Open Carbon Black on 30-year-old washi, edition 35.
William Joel, Hyde Park, NY (USA)
10 x 8 in, pine, Cranfield Safewash Relief / Raw Umber on 80lb vellum, edition 30 + 2 A/P.
Martha Knox, Philadelphia, PA (USA)
10 x 8 in, plywood, Speedball Supergraphic Black on Stonehenge paper, edition 30. This is yet another portrait of a good dog I knew. Faolan belonged to a friend and passed away in 2020.
Michele Le Tourneur, Fairfax, VA (USA)
10 x 8 in, (2) shina plywood & (2) lauan, Daniel Smith watercolor and a touch of sumi on Awagami hosho select, edition 25. Four blocks total, two shina ply and two lauan ply used for teexture. Lauan ply was wire brushed on the last impression (the darkest one) and not brushed on the light gray overall texture. The Hosho was problematic and stretched on the third impression causing the dark texture to misalign (proofs and earlier impressions not as pronounced). All in all, a great learning experience for my first edition!
Bronwyn Merritt, Carrboro, NC (USA)
Endless Cups of Coffee
10 x 8 in, wood block, Speedball Supergraphic Black on hosho, edition 100. Since the beginning of Covid restrictions, we have spent a lot of time at home, and coffee and tea mugs really pile up. I started making drawings of still-lives with cups and it has almost become a daily thing, so I decided to put several of the scenes into a woodcut
August Mezzetta, Cape Coral, FL (USA)
8 x 10 in, shina plywood & (1) shuan plywood, Akua Intaglio inks on Arnhem 1618, edition 30.
Chris Roberts, Somonauk, IL (USA)
8 x 10 in, shina plywood, black sumi ink & Daniel Smith wtercolors on leftover paper, edition 30.
Julio Rodriguez, Skokie, IL (USA)
10 x 8 in, wood block, Blick’s printmaking ink on Rives white, edition 25. Simple image of a chicken inside a hexagon. I had been shopping for eggs and came up with this idea after fonfronting a variety of options at the supermarket. White eggs, brown eggs, organic, hormone-free, cage-free…
Alfred Stark, DeKalb, IL (USA)
Early Meadow Rue
10 x 8 in, one block of solid cherry, sumi ink with rice paste on unknown paper, edition 25.
Andrew Stone, Florence (ITALY)
What Will It Take to Move Me?
8 x 10 in, shina plywood & (1) shuan plywood, sumi ink, watercolor & graphite on machine made kozo washi 70g/m2 (Awagami) with additional dosa (size), edition 30. This is another installment of one of my intermittent prints based on the 6 simple machines used since early civilizations to build and move stone, water and other maerials. In the case of the inclined plane, the work involved to move an object up or down the ramp is much less than the force needed to lift it directly up or down. As the force is reduced by increasing the distance travelled. Applied external forces, gravity, inertia and the nature of the surface (friction) all impact the ease of difficulty of moving a large mass. This is meant as a metaphor and not a physics problem. What are the forces causing or hindering movement and growth? Why do I (we) procrastinate, hesitate or remain frozen or blocked for long periods? And knowing that it is easier to keep an object in motion once it starts moving, what will it take to move me?
Laura Szabo-Roberts, Somonauk, IL (USA)
8 x 10 in, shina plywood, black sumi ink & Daniel Smith wtercolors on shin torinoko, edition 30.
Joseph Taylor, Evenaston, IL (USA)
10 x 8 in, birch plywood (6) blocks, Franklin Black and burnt plate oil on Banana mash on found paper, edition 30. Like the banana mash, but it embossed the block. An alphabet project.
Rebecca Thvedt, Minneapolis, MN (USA)
10 x 8 in, Seven blocks of shina plywood, Holbein watercolors on unknown paper, edition open. This print was inspired by one of the many egrets I saw this summer while walking through Wood Lake Nature Center in Richfield, Minnesota.
Frank Trueba, Felton, CA (USA)
10 x 8 in, birch plywood (6) blocks, watercolors / pigment dispersions on Hiromi Torinoko, natural 120g/m2, edition open. Since 1984, Stan Sakai has been chronicaling the anthropomorphic adventures of Usagi Yojimbo (rabbit bodyguard) during Edo Japan. The stories, all written and drawn by Sakai reflect Japanese history, clture, folklore and traditions.
Marlene Vidibor, Ghent, NY (USA)
Mary Magdalene – Tree of Life
10 x 8 in, 8 x 6 inch battleship gray linoleum block, Akua Intaglio inks on mulberry paper varied shades, edition 26. I can’t remember how this image arose. It was sort of an automatic drawing that morphed into a tree and then I saw a woman in it. Somehow Mary Magdalene came to me and when I researched, I found connectionsof her with the Tree of Life and this is the title. Why mulberry paper? I love it for its strength and lightness.