Printmaking Today PAGE 2

Sean Morrissey
seanpmorrissey@gmail.com

our landscape is saturated with the growth of impersonal architecture and a need to expand. This diaspora sprawls into all parts of our surroundings as we find supercenters, factories, housing developments, designer malls and construction as a part of the natural geography. These become so frequent that we are desensitised to a blur of forms, colors and icons. My work utilizes architectural elements that I find frequently, reconfiguring them to create a cartographic representation of our ever-gnanging surroundings. These nonrepresentational maps allow me to layer and suggest this expansion visually, letting the structures creep across the paper.Utilizing the process of printmaking and the multiple, I can replicate what our landscape encounters daily. The mechanical act of printing and reprinting allows me to produce forms at a rapid pace, mimicking present day construction and immediate geographic development. The use of the hand drawn line gives each form a static boundary in which it can expand beyond the border or remain contained to its space.

other works: 2 - 3

Hwa Young Caruso
hycaruso@yahoo.com

I am inspired by the biological process of human identity formation to include reproduction, gender, growth , decay and repetition of the life cycle. I am intrigued by the hidden and invisible world of cell development, and DNA coding that makes the human gene. I respect the nobility of birth to death as a natural life cycle. I raise questions about the creation process to invite a dialogue about moral and ethical dilemmas.

Blue Lab baby
Woodcut, 2008
other works: 2

The six works I have included for the show “Printmaking Today” are not theme oriented per se but do have something in common regarding there stylistic signature. All are traditional multi- coloured stone lithographies.
The coloured ground was executed using soap as the drawing material and the main drawing in black using # 2, 3 Korn lithographic crayons.
The works are largely narrative in nature and in some cases refer to art historical themes such as the abattoir In the works E and F and the obvious reference to the futuristic sculpture of Umberto Boccioni In the work " Future Man up to his Neck in Brown .

Marie Weaver
marieweaver@mac.com

My work uses realistic imagery in a stylized form, often with a surreal aspect. In much of my work, I have been interested in the beauty found in moments of change or suden awareness. It could be something subtle like a flicker of light, or a change of expression , or obvious like the flight of a flock of birds or a storm. Frequently birds appear in my work as a metaphor for the spirit but also as harbingers of danger or models of adaptability.

Mostly Mandarins
Oil based ink Woodcut, 2003

Other works:

missionensis
i@missionensis.com

I use the name missioneneis which I have taken from the binomial nomenclature name of the endangered mission blue butterfly. THe mission blue is a small endangered insect native to the san Francisco Bay Area, where I reside. It is threatened by habitat loss, pollution, and invasive species which compete for space and resources. Much of my work is concerened with the impacts human characteristics such as commodity and entitlement have on the environment, each other, and on ourselves as individuals.

Hiroyuki Miyazaki

Hiro1014@sirius.ocn.ne.jp

Sylvia Taylor
syltaylor@bluefrog.com

In my recent work I have been exploring themes of nostalgia and transcendence. The images in my prints – whether of animals, or clothing, or animated clothing – are inspired by memories and stories. I’m interested in capturing a moment that is imbued with a certain charm, yearning or ambivalence.

Bunting,
Linocut, 2007

Other works: 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10

David Newman
davidrnewman@earthlink.net

my work has increasingly come to critically engage the contemporary obsession with quantification and evaluation, often with misapplied metrics of questionable validity, of human persons. I regard this phenomenon sa dubious as the obsession of an earlier age with phrenology, the representations of which I re-deploy to critique the current folly.

Havasi Tamas
havasit@nyf.hu

Bollywood
linocut

Other works: 2 - 3

Jason Scuilla
Jscuilla@k-state.edu

in 2003 Jason scuilla spent one year living in Rome, Italy, studying and creating artwork. Ancient Etruscan Pottery, Byzantine mosaics, as well as sculptures and frescoes of the Medieval and Renaissance continue to have a profound effect on his artwork. In 2007, Scuilla was awarded a University Research Grant enabling him to return to Rome for a two-month residency at the "Il quadrato di Omega" workshop.
Scuilla currently serves as Head of the Printmaking Department at Kansas State University. He earned his MFA degree in Printmaking from the Tyler school of Art in 2005. He received his BFA from the University of Central Florida in 2003

Eve
etching

Other works: 2 - 3 - 4

Basri Mekolli
basmekolli@hotmail.com

Basri Mekolli art prints derive from philosophic and religious concepts. Those themes have been Basri's sphere of his creative art expressions for more than 2 decades. The clear forms and interesting colors are a range of his artistic creations.

David Davies
davies@bisto41.freeserve.co.uk

in the area of printing, I like to work small and mostly monochrome (black) in an abstract or semi-abstract way. I have an admiration for contemporary japanese abstract prints. I think my own style reflects the contemplative feel of that kind of work

cell #
drypoint, etching, collagraph

Other works: 2 - 3 - 4

Tsuritani Kouki
kouki4@mac.com

My work combines the philosophy of traditional Japanese art (such as Ukiuyo-e, which means flaoting worls) and traditional European Print technique. My prints, black and white mezzotint, reflect inner views of the people who live in a floating modern world.

Slav Varlakov
engravervs@msn.com

My images are an interpretation of the sure realistically constructed phenomena of "ordinary" human experience. I create image-art in the space of reality that you can address to any time & place.
My process of creating images brings together two principal elements, in a complex approach. One is the comprehensive element of form, and the other is the element of fundamental content (or essential meaning). On the one hand, I constantly exercise the formal element, and, thus and so (and by means of an always spontaneously free process of improvisation), I strictly control and order the structure of the images I invent. On the other hand, I am, likewise constantly, intent upon maintaining and profoundly enlarging the characteristic of meaning. Indeed, the meaning-content is always primary. The meaning-context (rather than the formal context in and of itself) is always the "subject" to which I respond by making any image I make. Therefore, the work I do with the formal aspects of an image must ( I insist) always responsively coincide with the preservation and enlargement of the fundamental context of meaning -- no matter how much of a sure realistically the image may become in the formal process of improvisational invention. Consequently, the tension between meaning and form is fundamental to all the image-making work I do. Visit www.miniatureprint.com

holding the balance
copper plate engraving, 2003

Other works: 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10

Joseph D'UVA
jduva@usi.edu

Childhood memories, personal heritage, consumerism, and pop culture influence the artwork I create. I use this information to define the significance of certain objects, settings, or moments that I have encountered throuh daily experiences. The key image is iconic in nature, typically rich in tone or represented in silhouette, creating both a visual and conceptual focal point for each print. Images are subtly layered into the background, usually quite flat and graphic in appearance. The background compliments the key image, adding additional information to complete the narrative. The printed colors appear sweet and plastic referencing the purity and slickness of a new toy. Through all facets of my art, I hope for the viewer to find a sense of familiarity to the objects portrayed, potentially trigggering a personal memory or event in their lives.

remnanotsofsassinoro
lithograph, 2000

Other works: 2 - 3 - 4

Vlatko Ceric
vlatkoceric@gmail.com

My works belong to computer generated abstract art. They are generated by computer programs that transform my ideas into images. This kind of computer art is called algorithmic art since images are generated using algorithms, i.e. procedures coded in computer programs that describe how an image will look like and how it is to be generated.Some of the issues that are constantly intriguing me are dichotomies between determinism vs. randomness, linearity vs. non-linearity and simplicity vs. complexity, as well as their influence on art.All my works are titled, signed and numbered in a limited edition. I use only archival paper and ink. My works can be viewed on my website www.vceric.net .

Unclassified Objects1

Other works: 2

La Roche Gaetano
gaetanolaroche@yahoo.com

The birds in these lithographs represent freedom, joy mischief. I hope that is what my work is about . It is what I aspire to.

A bird by any other name
Lithograph, 2008

Other works: 2

Barbara Mason

monotype,

Other works: 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10

Noriko Hirata
ilcolore11@hotmail.com

Cycle of generation and disappearance, expression of nothing

Etching, 2008

Other works: 2

Magalie Han Hung Pew
lartiste.mais.connue@gmail.com

My artworks reflect my life experiences and making art is a way, but also a need, for me to keep in touch with my feelings, my thoughts and my soul. I try to convey mostly strong emotions which the viewer can relate or connect to. I believe that art has the power to soothe the artist's soul and at the same time create a unique experience with the audience. For the past three years, my work has been dealing with memories, dreams, identity and human behaviour since I have been experiencing a transition leaving my homeland Mauritius to come to Montreal. Often figurative and becoming gradually semi- abstract, my work evokes inner feelings such as fear, pain and suffering that one does not usually dare or feel at ease to talk about. Printmaking and painting being my favourite media, I tend to merge the two techniques together in the view to create new results and make discoveries, just as in life.

Recto, Verso
Screenprint and Litho, 2008

Other works: 2 - 3 - 4 - 5