Printmaking Today PAGE 3

Dominic Mangila
domangila@gmail.com

these monotypes are part of an on-going project which started in February 2007. They are part of a group of 7,107 monotypes that represent the Philippines' 7,107 islands. This body of work is an homage to my homecountry and to printmaking.

philippines series

Other works: 2 - 3 - 4

Maura de Andrade Novo
mau.drade@yahoo.com.br

bachelor or painting, sculpting and engraving - Beaux Artes de Sao Paulo

Corpo
2007

Other works: 2

Robert Crozier
r@crozier.edipe.co.uk

Robert Crozier is a painter, printmaker and ludic poet. He is a Scot brought up in the Orkney Islands but is currently resident in Edinburgh, London and Hull and has several works in public collections including the collection of the British Government
He is presenting here "Bestiary" a suite of nine prints.

David Moyer
redhowler@alltel.net

While in graduate school as a ceramics major, I began working in the printmaking studio making intaglio etchings and drypoints. Thus ended my career in ceramics. Since that time, I have worked exclusively in printmaking. In 1988 my wife and I began a small press, to print hand made, limited edition books. My imagery explores visual and literary ideas through black and white print media, usually wood engraving though sometimes using intaglio process and lithography. There is along tradition of wood engraving and the book arts, and it seemed quite natural to follow that path. Throughout my career as an artist I have gravitated towrd the german print tradition and have a particular fondness for the work of Durer, Wolgemuth, Cranach, Holbein and Baldung-Grien.

Tu casa, Mi casa
screenprint, 2004
other works: 2 - 3 - 4

Brant Schuller
brantschuller@yahoo.com

These works were created at a residence at the
University of Alberta, Edmonton, Canada using cutting
edge technology in the field of screen-printing. The
use of Ultraviolet inks allows for an incredible
amount of detail as the ink does not air dry, but is
set on the paper using an ultraviolet light. These
images were drawn looking out over the bus stops of
the college from a suspended walkway connecting the
art building and the student union. The work is a
transition for me as the color is printed and instead
of using flat color I introduced washes of color into
the prints. The inks I was using allow for very
vibrant color, yet I choose to use more mute tones to
suggest the rainy days of fall and the oncoming
winter.

Traced Exterior Alberta II
Ultraviolet screenprint, 2006
other works: 2

Jonathan Charles Vaughan
oilandpigment@earthlink.net

the prints present the viewer with imagery that readresses the possibility for a work of art to exist as a sublime and mystical reflection of the world around them. My purposeful use of etching alows me to utilize a historical system of illustration to express contemporary concerns. In addition, the manipulation of wiping techniques and the layering of etching methods, makes this medium extremely suitable for the imagery I create.

Briar Craig
briar.craig@ubc.ca

I have been making works that have evolved from my interest in the nature of photo-generated media and contemporary consumer culture. I t has become my habit to collect remnants from the consumer world and then alter or juxtapose a number of them in order to create narrative-like dialogues where individual meanings become secondary to new, personally and individually constructed content

Masahiro Kawara
printhouse.om@r3.dion.ne.jp

The purpose of my work is to have a looking person feel vagueness of there being it

Etienne Tremblay-Tardif
etotardi@hotmail.com

I was born in 1984 and grew on the island of aux-cordes. I now live and work in Montreal. Through my particular interest in the landscape genre, I initiate a reflection on the occupation and exploitation of territory, on urbanity and on our connection to nature: I envision the notions of site, geography and climate as constitutive of personal collective and political identity. A painter-printmaker, I understand landscape as a spiritual or metaphysical place: an image of the soul, at the time meditative introspection and mystical contemplation of the world.

Angela Hayson
ahayson@ahid.com.au

My work explores the essence of objects in the observed world. I work from nature and my images are about visually transforming objects found in the natural world. The sculptural beauty, structure and materiality of naturally occurring complex structures provides an endless source of inspiration.

These images are inspired by seaweed and algae found in the waters of bondi beach, sydney. By removing my work from an everyday scale my aim is to connect more closely withthe environment. I also aim to encourage anyone viewing my work to disconnect from the everyday and experience a more personal involvement with the objects I portray.

Tetsu Harada
temeraire-jmw.turner@softbank.ne.jp

Up to what extent can I chase what I thought interesting? There is always this idea inside me.

This image is a panda skipping a rope. I found interesting the silhouette visible among the ropes, so I did it.

Liz Rosetta
Lizrosetta@mac.com

Most of my etchings document my life's journey: family, significant encounters, lasting relationships, loves. The impact of Italy on my life is evident in these recent etchings: Dante, cathedral pavements, Renaissance Frescos, Cesare Ripa, the beauty of the country. I am open to its influence. There are stories that cannot be told in any other medium but etching.

Carol Hayman
chayman@austince.edu

My aim as an artist is to create art that has a complexity that challenges the intellect and is laden with emotion that touches the soul

These works present exotic subjects in the drama of black and white, or the subtle monochromatic tones or printmaker's inks. In an engagement with the audience, some pieces are seemingly chaotic on the surface and work to draw viewers in, to look deeply, or to break a code or try to solve a mystery. The prints are based on my photos of places visited and objects viewed: The result is intimate, earthy, fragile, universal and contemporary. The images are full of the organic subtlety showing the naked beauty of weathered rock and plants, contrasted with man-made architectural elements. The organic elements complement the manmade.

Monika Meler
mmeler@temple.edu

The fall of the berlin wall in 1989 proved to be one of the most important events in recent history, not only for social and political reasons, but for contemporary art as well. Having been born and raised in Brodnica, Poland in the 1980's, I am a product of the tension between eastern and western europe and my art is a testament to and a reexamination of my memories of this time. My prints invite viewers to look upon and explore my memories of Poland. Ever since my immigration to the USA in 1990, I have split my identity iin half. One part of me resides in america, while the other lives purely in a constant nostalgia for Brodnica. My art attempts to negotiate the tension between past, present and future.

Sarah Uldall
editions1920@hotmail.com

throughout my work of the past few years there have been strong references to textiles. I have studied the bauhaus movement, and the combination of utility and beauty and beauty that was so relevant to it. The elementary forces of circle, triangle and line provide infinite possibilities. These shapes have led me to the modern alphabet and the codes of sign-writers. I wish to relay messages in an abstract way and from a different place in time.

Anne Forte
forte_anne@hotmail.com

My work as an artist spans both painting and printmaking. I studied at Edinburgh college of Art gaining a BA honours Degree in Drawing and Painting. I use printmaking, with the emphasis on screenprinting in my images. At the moment I am developing work based on the premise that memory can be an unrealiable witness. I have exhibitions in many countries, including the Czech Republic, Switzerland, Germany and France. In 2008 I was a prizewinner in the prestigious Tokyo Screenprint Biennale.

April Vollmer
april@aprilvollmer.com

April Vollmer makes prints in her studio on the lower east side of Manhattan. She earned an MFA in printmaking from hunter COllege in 1983, and learned Japanese woodblock after she established her own studio. She combines contemporary and traditional ways of working, using the computer to create complex patterns. To make her color woodcut prints she transfers these patterns to blocks to cut and print.. She prints using the traditional Japanesewoodblock method printing with watercolor on handmade kozo fiber paper. She has taught the technique since 1995

Dora Lisa Rosenbaum
dora@doralisarosenbaum.com

I have been interested in food culture and the creation of identity through food for a long time. My work explores this interest, emphasizing the specific customs of the place where I am living. previously Rome, Italy and currently Bloomington, INdiana.
Recently I began examining food packaging, which in turn led me to explore broader issues of shopping and consumption in our culture. We shop in order to create our identity and through our purchases we project ourselves onto the world., reproducing appropriate social dispositions.. Individuals constitute themselves through their daily practices and routines; every day we make choices that shape who we are (and want to be) in the world, but these often remain out of our consciousness.

Julie Niskanen
julieniskanen@yahoo.com

The natural forms that permeate our world too often become background patterns in our hectic lives. For the most part, people no longer feel the wonder of the complexities and intricacies seen in forms such as a single seedpod. All too often one walks by a scene or object without noticing it. Many people go through a day or lifetime ignoring the small beauties and ideas around them. What happens when we slow down to truly notice and examine what is around us? Examining these organic forms allows me to reflect on the human disregard for so many things, while also reflecting on and bringing forth these rhythms of nature that are often unnoticed in our lives.

Leyla Yildiz
lyildiz@comcast.net

Abstracting elements down to lines and color is exciting to me, although there is great technique inherent in realistic representation of things we see around us, it is the positive-negative, light-dark, opposites attracting and concept of what holds us up that to me signals the spark of life: What lies beneath, what stays in the background and what seems faint but is more real is what I attempt to find and describe

Bison
woodcut, 2005
2006

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

If we judge by what has been preserved through the ages, the firstartists made images in an effort to communicate with the forces thathad power over their lives. Perhaps their imagery was a talisman orprayer of sorts to ease their journey through life, helping them dealwith their joys and life struggles.Over the past 20 some years, my work has been influenced by thevarious ways in which people and societies not only leave their markon their civilizations but also provide a legacy of images, symbols,and monuments that can speak to other societies and other times.Because I have had the opportunity to live and travel abroad, I wasable to study some of the symbols and images of those places. Iexplored huacas from Pre-Columbian period, symbols and images ofStonehenge and Machu Picchu, the significance of the Berlin Wall andits demise, Apartheid, and our own Vietnam Wall. My works are more ofan inquiry into the efforts of mark markers in other societies, whileencouraging an interaction with life forces. I want my work to conveya sense of connectivity, a flow of past to the present and back again.I have chosen to use various forms of traditional and experimentaletching; Zinc, Copper, Plexiglas, Linocut, Solar Plate, ImagOn, pasteltransfer, and other forms printing to compliment my exploration.Found materials are incorporated into handmade paper which is made from recycled prints.

Matthew J. Egan
matthewjegan@gmail.com

My recent drawings coincide with the writings of a fictitious author named James M. O'Ganolley. The drawings become developed images serving as illustrative pages for the non-sequential narrative within the O'Ganolley's Book Project . O'Ganolley's Book Project is a collection of prints derived from sketches and ideas that have been somewhat contextually collaged together to generate several compositions. The compositions represent ancestry, hierarchy, societal commentary, political concern, and a glimpse of some sort of history that serves as visual contemplations of the past that perpetuates into the present. The compositions are not necessarily logically or sequential, but more a collection of individual ideas and thoughts with a playful reference to writers and poets, such as Dante's Divine Comedy, which has evidently woven itself into the contemporary satires being subconsciously considered. A more conscious goal has emerged with aspirations to parallel Goya's Los Caprichos in scope and scale. The practice of executing the images considers metaphorical references to contemporary and previous socio-political events. The pages within O'Ganolley's Book Project are about nothing in particular, but the prints reference many things in general concerned with our humanistic motives, emotions, and more grandiose ideas that record travel and contemplations of a global culture and society.

Catherine Rozmarynowycz
catherinerozmary@yahoo.com

I am interested in creating images of the human body combined with plant forms or other natural elements. As I am working, I reference biological illustrations, both anatomical and botanical, as well as my own drawings from observation. These hybridized human forms symbolize our intercorrectedness with nature and our environment as well as my own interest in creating fanciful, somewhat sinister imagery. I also explore the idea of gender identity in my work. As an artist, I have been inspired by Surrealism, specifically its use of the psyche to guide the image making process. I work primarily as a printmaker and painter

Ivan Bachvazov
ivbachvazov@abu.bg

graduated from academy of fine arts- Sofia. Speciality black and white drawing. Memeber of the union of Bulgarian artist. Took part in more than 50 exhibitions