Coordinator: Wanda Hemmings
Details:
- Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper
- Theme: Open
- Paper Size: Oban (15 x 10 in / 38 x 25.5 cm)
- Paper Type: No restriction
- Registration period: April 1 – April 30, 2024
- Delivery deadline for finished prints: June 30, 2024
Joanna Bradley, Sydney, Australia
Stygofauna
15 x 10 inches, 2 Woodblocks. Eucalyptus and shina. PVC mesh. Derivan rubber for stamps, Gauche with nori paste. Derivan block ink. on Derwent art book paper, edition 20. Stygofauna are newly discovered in Australia and threatened by fossil fuel extraction and use of bore water for farming draining aquifers. Opalescent, transparent, blind, tiny with a slow lifecycle, rare and isolated populations of stygofauna are being wiped out before they are classified into individual species.
John Center, Chicago, IL USA
never again is now OCT. 7TH
15 x 10 inches, 2 Hard maple blocks & wood type, gamblin on smooth acid free poster board, edition 21. https://www.instagram.com/yochananengraver/
Karma Grotelueschen, Lake Redstone, Wisconsin
Red Geraniums
15 x 10 inches, Maple, Speedball Professional on Yasutomo “Sketch Pad”, edition open.
Wanda Hemmings, Tacoma WA
Little Fishy
10 x 15 inches, 1 A4 lino (about 8.3 x 11.7 inches ) jigsawed into 3 and a further lino block 8in x 3.5in, Caligo Safe Wash and a coat of Winsor Newton iridescent medium between the two printed layers of the fish on Fabriano Accademia 160gsm, edition 20.
George Jarvis, Akita,Japan
姉妹 / Shimai / sisters)
15 x 10 inches, 2, old cheap one sided birch plywood with lauan core, Sumi, Golden OPEN carbon black on Naba Kikai Torinoko, edition 40.
Tom Kristensen, Sydney, Australia
Abi with Hen
15 x 10 inches, One cherry-faced ply block, Sumi sizing and water-washable oils on Nishinouchi kozo washi and backed with Yamoto kozo chiri, edition 20 (in this original colour scheme). Made in the style of Tadashige Ono, a printmaking revolutionary who was also fond of including birds in his print designs. https://www.sarugallery.com
Mike Lyon, Kansas City, MO
Danielle
10 x 15 inches, Four 1/2 inch baltic birch blocks, pigment dispersions from Guerra Paint & Pigment on Torinoko White, Baren edition of 20 from 32 sheets printed. Another in a series of square-spiral paintings, drawings, and prints in which the number of wraps of each spiral is related to the value in that area of a reference image. In this example, the spirals have been laser-engraved from the blocks and the width of each spiral diminishes from the center to the outer limit. The approach is kind of the reverse of our usual way of thinking and is designed to allow the printed colors of each block to show through the unprinted areas (spirals) of other blocks. It’s confusing even to me! http://mlyon.com
Bronwyn Merritt, Orlando, Fl
Kitty Sings the Blues
10 x 15 inches, One e-z cut 4 x 6 inch block, Daniel Smith waterbased navy blue on Gold-flecked Japanese paper, edition 25. I do a lot of jazz-themed prints and cat art. They collided in this whimsical image. I like how the dark background with the cats barely defined enhances the space and mood. https://BronwynMerritt.com
Julio Rodriguez, Skokie, Illinois
Dreams
15 x 10 inches, One linoleum block with multiple impressions, Blicks Water Inks on Rives White, edition 20. This is an image that’s been revolving in my head for a while. Initially a multi-color print, it finally came together in my dreams as a monochrome.
Jurgen Stieler, Flensburg, Germany
Dangerous
15 x 10 inches, Two blocks polymer, Cranfield Caligo Safe Wash Relief Ink process blue (cyan) over diarylide yellow on Masa, edition 27. The drawing for this print had been for years in my drawer. It was the first time I tried polymer printing plates for cutting. Cutting was very easy, but fine lines were a bit tricky because the material still kept together at the end of the line. Linoleum is easier in this way, because it crumbles away. The yellow ink (first layer, solid block) dried easily and normally fast. The second layer Blue took a long time to dry. And it wasn’t easy to bring the sketch to the plate. On Linoleum I always used “Pelikan Plenticopy 200H” blue carbon paper for handwriting, but it didn’t work on the polymer plate. I looked for another copy paper and at least I found “d.rect office blue carbon copy paper” which is very thin, and only with a needle on my sketch paper the lines came to the plate by the copy paper. For free drawing, a ball pen works great on the plates…
Andrew Stone, Florence, Italy
Old Saw
10 x 15 inches, 6 plates of Shina plywood and Okoumè plywood, Sumi ink and Tube Watercolor on Fabriano Artistico 90lb hot-press watercolor paper, edition 25. You know the Old Saw, All teeth but NO BITE! — A play on words, aphorisms, and images–this malaphor or mixing up of traditional sayings combines the old phrase about old dogs (all bite but no bark) with my ink and watercolor drawing of an rusty old saw, likely to be found in the back of pretty much every tool shed I’ve every owned. Another work with ties to my practice of Japanese etagami, crudely drawn images of everyday objects, combined with poetry or text. At 185g/m2 (90lb) it was a bit of work to print with my barens. https://rospobio.blogspot.com
Joseph Taylor, Evanston IL
Listen
15 x 10 inches, Shina plywood, Speedball phthalo blue on Fabriano Ingres Tobacco, edition 25. https://joetaylorart.com
Frank Trueba, Felton, California, USA
La Mezquita
15 x 10 inches, 4 blocks (3 birch ply, 1 cherry ply), sumi, watercolor inks on torinoko natural (Hiromi Paper, California; MMN-105), edition open. The image is of the interior of the Cathedral of Cordoba which started out as a mosque beginning in 786. The original mosque was enlarged a number of times, ultimately reaching 24,000 square meters (over 250,000 square feet) containing over 1013 columns supporting distinctive red and white arches. While it was converted to a Catholic church in 1236, there were few alterations until the construction of a Renaissance church in the inside of the huge complex. Finished in 1757, the cathedral’s construction took out 157 columns, leaving the current 856 intact.
April Vollmer, New York City
Bonaparte
15 x 10 inches, three 12 x 16 shina 5-ply plywood blocks, sumi ink and Guerra pigment dispersion on vintage Echizen from Hiromi, edition 27. This small tern-like gull is named after Napoleon’s nephew Charles Lucien, an ornithologist who spent eight years in America. Bonaparte’s gulls fly in flocks and swoop for small fish, dipping and diving over the water. The print is based on a photo taken from the Santa Cruz wharf, printed from three 12 x 16 shina plywood blocks in around six printing steps, including multiple gradations. The paper is vintage Echizen from Hiromi. Printed in the New York studio. https://aprilvollmer.com
Dana Wangsgard, Berea, KY
Olivia
10 x 15 inches, 1 block, lino, Cranfield Caligo Safe Wash Relief Inks, Black on Mulberry, edition 24. I took care of my son’s dog while he was serving as a Medic in the US Army. To both our surprise, and unknowingly to both of us, the boxer had been impregnated by a neighbor’s black lab and one December evening Olivia was born in my laundry room. Last month, at 14 years old, my son called to let me know that Olivia found her way over the puppy rainbow after a full life of surprises and adventure alongside my son. She brought comfort and helped my son go through PTSD and readjustment to civilian life. This print celebrates the love and healing she so freely gave to all she met. I hope you enjoy! https://bocoteart.com