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Exchange 91

Spring, 2023
Dana Wangsgard, coordinator

  • Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper)
  • Theme: Open
  • Paper Size: 7 X 8 inches
  • Registration period: Four weeks starting November 1, 2022 – November 30, 2022
  • Deadline for finished prints: February 28, 2023

John P Center

7 x 8 in, hard maple block, oil based relief ink on #400 series acid free Strathmore drawing paper, edition 20. This is an allegorical selfie. Wood-engraving and antique wood type text. Instagram: yochananengraver

Maria H Diener
Find a way

11.5 x 8.5 in, shina plywood, Daniel Smith black mix oil based on Rives BFK Light, 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.

Bea Gold
My Girl

8 x 7 in, two shina plywood blocks, Akua inks on Nishinouchi paper, edition 30. Color is White Line, Black is Japanese waterbase.

George Jarvis

20.3 x 17.8 cm, Matsumura Shina plywood, pigments paste sumi on Naba 10 momme kozo, edition 30.

Martha Knox
Two Dogs

8 x 7 in, linocut, Speedball water-based white ink, Black Stonehenge paper, edition 22. Just a print of 2 of my dogs based on a photo I took where I really enjoyed the value contrast.

Mike Lyon
Self in Cowboy Hat

8 x 7 in, three solid cherry planks, Guerra pigment suspensions: hansa 100 (yellow); quinacridone 195 (red); Tetra-chloro periwinkle (blue) on Echizen kozo washi by Iwano Ichibei, edition 20 (plus 8 variant proofs – 28 sheets printed). Short video of printing this edition. My little print is mokuhanga, printed the traditional way with water-borne pigments brushed into the block, paper registered using kento and printed using my trusty hon-baren. The design of the blocks and the laser-engraving were not so traditional. Mike Lyon

Bronwyn Merritt
Dark Shadow

7 x 8 in, linocut, Daniel Smith water-based black on “Rice” paper, edition 20. My white cat looks angelic but has an inner demon, so I depicted that through his shadow.

Larry Phelps
Marsh Marigold

7 x 8 in, Sintra block, Akua color on Rives BFK, edition 25.

Marilynn Smith

8.5 x 7 in, wood block, edition 25.

Andrew Stone
Fast Enough (Year of the water Rabbit)

7 x 8 in, Shina and Okoumé plywood -5 blocks, E.V. 60 mokuhanga, mixed Japanese kozo papers, edition 20. I wasn’t planning on making a Chinese zodiac card this year. But I started drawing rabbits, and hares, and more rabbits, until I filled a few pages of sketchbooks with running, jumping, grazing, and flying “Thumpers”. I had wanted to create a busy background full of jerky marks of grass or reeds whizzing by-but the rabbits couldn’t decide if they wanted to be white rabbits on a dark ground, or brown rabbits on a green field- and each time I tried to go one way, the rabbits would run back in the other direction. So, my white rabbits kept getting beige fur and black ear and tail highlights, and the brown rabbit was never really dark or real enough. But then I remembered it was the year of the WATER rabbit. And that sort of made the background obvious. When almost every other animal you meet wants to eat or hurt you, it’s no surprise that running away is the most natural response to almost any stimulus. But the hares of our fields first do their best not to get noticed. They blend into the tall grass and branches, and hunker down, immobile, and are almost impossible to see. But if you get too close, or startle them with a brusque movement or noise, they will explode from almost underfoot, and rocket away, zigzagging across the field and will cross a long distance before they will glance back to make sure they’re not being followed. I will never walk on water, but trying not to be noticed, or running away at the first sign from real or imagined conflict, are habits I recognize.

Frank Trueba
Humu humu nukunu Kua puaa

7 x 8 in.

Marlene Vidibor
Faces in a Crowd

7 x 8 in, AKUA ink, Rainbow hand colored on Rives BFK paper, edition 20. Lino cut originally done to see how fine a line I could cut. Faces are purposefully grotesque.

Dana Wangsgard
Hanging Oak

8.5 x 7 in, mokuhanga from Five blocks, four of birch plywood plus one Shina plywood key block, Ocaldo Printmaking Water Colours on Thai Kozo with Bamboo fiber paper, edition 30. The Hanging Oak print is a representation of an old oak which hangs over the bluff just west of the old Fair Oaks pedestrian bridge. This bluff offers terrific views of the Sacramento valley and the north side of the American River. The oak tree has half of its root system exposed in the air as the bluff edge has slowly eroded underneath. It is only a matter time before some significant enough storms undermines the ground that this oak stands on. I used a kento for block registration and a baren to make the impressions following traditional Japanese moku-hanga techniques. I hope you enjoy my offering. Facebook & Instagram: Bocote Art

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