Dana Wangsgard, coordinator
- Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper)
- Theme: Open
- Paper Size: 8.5 X 11.5 inches
- Registration period: Four weeks starting August 1, 2022 – August 31, 2022
- Deadline for finished prints: October 31, 2022
10 x 8 in, linocut, Speedball water-based block printing ink on Canson paper, edition 20. Blind luck, fate, and chance occurrences are the realm of the Roman Goddess Fortuna. In my relief print she holds the wheel of fortune where all of humanity, or a single person, sits atop the wheel. They do not control the wheel but are along for the ride. At anytime, and for anyone, the wheel may take a downturn and then, maybe, hopefully, rise again.
John P Center
War in the Donbass
10 x 8.5 in, linocut, oil-based relief ink on Canson Bristol Smooth, edition: 20.
Mom and Babe
11 x 8.5 in, shina ply, Akua inks on Masa Dosa paper, edition 30. This woodcut uses both the European Black Line as well as the white line approach for the color. I enjoy doing my color woodcuts this way because it gives more of a pantry image. Each print is a little different.
格子（Koushi = Lattice)
29.3 x 21.7 cm, Matsumura shina plywood, Golden OPEN Carbon Black on 因州和紙 楮紙 （Inshuwashi Kozoshi), edition 36. Printed dry with baren.
Sharing the Umbrella
11.5 x 8.4 in, plywood, Speedball ink on Stonehenge paper, edition 20.
Find a way
11.5 x 8.5 in, shina plywood, Daniel Smith black mix oil based on Rives BFK Light paper, edition 60. Currently embarking on a mysterious and perilous adventure. Makes me feel small and a bit scared but as I look at the ever guiding light I also feel hopeful, empowered, ever fearless. I am determined to find a way. I had a totally different image in mind but as I bathed the block with ink the wood grain took over and, as usual, showed me the way.
Print Title: Banana Tree Dreams
8.5 x 11.5 in, linocut, Archival Black Waterbed ink on washi, edition 100. After a big move to Florida, I fixated on a huge banana tree in my backyard, which seems to weather any storm by totally reconfiguring itself. I have drawn and painted it repeatedly for a year, and it never gets old.
Grace in the Wild
8.5 x 11 in, linocut, Akua intaglio ink on mulberry paper, edition 20.
7 X 13 in, plywood & linoleum blocks, Ocaldo inks on Rives White Heavy paper, edition 20. Skokie, Illinois USA. This image reminds me of an old time B&W wood engraving but with a touch of color. The barren (no pun intended) plowed field leads your eyes towards a row of distant trees peeking through the early misty morning fog.
While you were sleeping
11.5 x 8.5 in, cherry block blind embossed on Arches Hot Press 140#, edition 20. First attempt at blind emboss printing. Lettering hand drawn in Adobe Illustrator and carved with X-carve.
8.5 x 11 in, 1 cherry ply block plus 7 birch ply blocks, 11 colors, 19 impressions, water-based pigment dispersions on Torinoko Natural (Hiromi Paper), unedtitioned.
A Little Sculpture from the Tree
7 x 8 in, shina plywood, Gamblin’s Artist Colors (sepia) on Stonehenge paper, edition 24.
Cycladic Harpist in a Future World
8.5 x 11.5 in, linocut, Akua on BFK Rives, edition 22. The story behind it is that I used a modified figure of a Cycladic(pre Greek) sculpture of a Harpist. They were women and bald usually done in alabaster or marble. The image of the Cycladic harpist can be found on the website of the metropolitan museum of art. You can see how she\’s holding the harp. Then I tweaked the image and put a modern head on her and surrounded her by an environment out of Picasso, Miro and Matisse. Notice the snake head on the harp. Nothing is ever new in art. It\’s all been used before.
The Union Church, Berea Kentucky
8.5 x 11.5 in, linocut, Akua Intagio ink on Thai kozo & bamboo fiber paper, edition 30. The Berea Union Church (as well as the Berea College) was founded by John Gregg Fee in 1853. Both the college and the church are non-denominational, and racially integrated since their founding. Fee founded the church on the principles of social and racial equality and believed slavery to be a sin. Equality and acceptance are pillars of the organization to this day. The building architecture is Greek Revival Style brick designed by W. H. Nicklas of Cleveland, Ohio. I’m Bocote Art on Facebook and Instagram.