Printmaking Today PAGE 5

Fabio Coruzzi
mrmatito@yahoo.it

law strategies
screenprinting- mixed media on paper, 2008

Other works: 2

Isabelle Ayote
isabelle_turquoise@hotmail.com

My work speaks about loneliness and desperate people. But I put it in brightful colors to provoke a dissonance and to create and other level. There is an opposition between childhood and adult way to see life. I work on oppositions with irony.

Craig Kaths
craigkaths@yahoo.com

currently in the digital sound recording world there is a fluctuation between Bit rates of digital recording, they are 16 bit and 24 bit. I have created four screenprints that mimic this fluctuation. Thay are two, sixteen color screenprints entitled "16 bit one" and "16bit two" and two, twentyfour color screenprints entitled "24 bit one" and "24 bit two". The number of colors printed is a direct correlation to the bit rates of digital sound recording, as you move your eyes from one print to the next you are literally fluctuating through these color correlations. The subject matter used in these prints is strictly taken from objects that create analog sound, they are exploded views of turntables and hand drawn records. By using this imagery I am recording analog sounds to the paper.

Lynita Shimizu
lynita@shimizuwoodcuts.com

Clarity, honesty, passion and color that sates the eye... these elements I seek in my "mokuhanga", my woodprints. I print and I am grateful for each moment.

Eva Molander
ewa.molander@swipnet.se

Born 1960 in Stockholm, Sweden.

"meetings with other people and even myself inspires my art work, mainly expressed by graphic art."
Member of the Swedish Printmakers's Association

Mimmi Kaller
mimmi.kaller@edu.amal.se

My graphic prints are often a result of a mix of previous works, such as large oil paintings, watercolours, sketches in different techniques. They meet, mixed and transformed into a graphic print on a copper plate.

Jasmine Begeske
jlgrskou@purdue.edu

These images were inspired by memories from my childhood. I created these images in a diarist style to reprocess a memory and reclaim an event

Martin Stanley
boppo@bigpond.net.au

These woodcuts are part of a series which is concerned with life in the depths of the Antarctic Ocean , and the relationship we have with it.

Martin Stanley is an artist who lives and works in Sydney , Australia . He is a lecturer in printmaking at the National Art School , Sydney , specialising in woodcut and lithography.

I maintain a printmaking studio "The Graphic Workshop"in Silver Spring Maryland sharing methods and ideas with visiting artists from around the world.

Michelle "Mike" Ochonicky
stonehollowstudio@yahoo.com

In my prints, I have combined nature's elements with
manmade components to emphasis the power of
nature over man. Here, the sun bursts forth its
heat and light over a town, and two cars
slip in downpouring rain.

Both works are classical, acid-etched onto steel
plates.

Cleo Wilkinson
wilkinson_cleo@hotmail.com

My interest lies in the power to evoke disquieting and elusive moments with subtle nuances of light that the richness of the mezzotint can uncover. Although I specialise in the mezzotint print technique I continue to paint and sculpt defining objects as they are brought out of darkness, just as a thought would emerge from ones memory. I am an explorer of twilight zones and ambiguous spaces. Much of my recent work explores ambivalence - suspended - the struggle with insight and doubt , hesitation and commitment. Moments of isolation and dislocation, stillness and silence where introspection and alienation are consciously engaged and interrogated. People waiting in darkness caught between expectation and anxiety is the most haunting imagery. My source of inspiration comes from memory and subconscious which is rearticulated into my own visual language . It stretches my investigation of ideas into solitude, symbolism of thought and the human condition. I like to suggest not prescribe - what is missing in the shadows and is suggested provides the greatest potential for me . The mezzotint is known as “ maniere noire” ( black method) it demands patience ,consequence, and precision. It is an extremely labour and time consuming process; an an intensely intimate one and profoundly considered - for this reason there are only a relatively small number of artists who practice this print technique worldwide today. The technique is particularly meditative. It is about disappearing into the overall experience of the work and being totally absorbed in the process .The metal plate – working with the materials to a great extent is what the image is about. It offers resistance to my will and forces me to think and rethink my way to solutions. To maintain the highest standards I personally perform all the creative and technical aspects of my work- without the use of an apprentice or assistant. I have invented and designed my own roulette that creates a rare stippled pattern that can not be achieved with any other tool currently on the market.

BERNA ÖZLEM ÖZCAN
bernaozlem.ozcan@gmail.com

Born in 1969. Graduated from Bilkent University, Faculty of Fine Arts, Graphic Design Department in 1993. Received a government scholarship from The Ministry of Turkish Education for 3 years. Earned master's degree from Long Island University, Faculty of Visual & Performing Arts, New York, USA in 1998. Worked as a research assistant in Mustafa Kemal University, Faculty of Education, Department of Fine Arts Education for 2 years. Received PhD degree from Hacettepe University Faculty of Fine Arts, Graphic Design department in 2005. Worked as a research assistant at the same university for 5 years. Has been working at Mustafa Kemal University, Faculty of Education, Department of Fine Arts Education since 2005. Participated in several international and national co-exhibitions and three individual graphic design exhibition. The member of Ankara Ex-libris Society since 2000

Robert Capozzi
robertcapozzi@gmail.com

My current series of work addresses the plight of threatened animalia in the Hudson Valley of New York State. Massive populations of bats and bees are perishing and are at great risk peril. My motive is to present and represent this critical subject as my subjects demise will dramatically affect an entire regions natural progression.
My images originally exist as short, fading and disintegrating animations. Digital stills are then captured and the frames represented as an archival of digital print.

Andrew DeCaen
adecaen@gmail.com

The Premature Guessing works aim to exist somewhere between premonition and recollection. Sonogram images are a primary source for the kind of mood I emulate: I want these to seem familiar but odd. I try to walk a line between becoming truly engaged in the image and allowing the image to act as an open-ended question.

Kathe Welch
kathe@kathewelch.org

Kathe grew up in California’s Central Valley and from an early age she could be found drawing things she saw in her neighborhood and things she imagined might exist. She wrote stories to accompany her drawings and created little books for her family. Among her earliest commissions were drawings of naked girls for her male classmates in exchange for candy. Kathe’s approach to art has always involved experimentation and her inventive and inquisitive nature. She favors the stark black and white of a woodblock or a pen and ink drawing to express her ideas, though she uses all media to accomplish her artistic goals. Kathe also enjoys writing, but she expects her images to tell a story better than she could with words. She also expects the viewer to bring their own story to each viewing; so she wants to leave a lot open to interpretation.Kathe is currently is working on several wood cut projects and paintings and is illustrating a story about the fear of falling off the edge of the bed.

Mark Knot
mark@markknot.com

Mark Knot works in all media. Most of his work is in pen & ink, but he also prints and paints. Mark lives in the San Francisco Bay area. His favorite subject is naked men.

Mark says: “I have spent many years studying the nude male figure and hope you find the same pleasure in viewing my drawings, prints and paintings as I find in creating them.”

Heather Piazza
heather@heatherpiazza.com

Heather Piazza is a native of California. Heather has a passion for the non-traditional, for the variety and complexity of light, for color, texture and design. These passions come though, whether she is expressing herself through acrylic and oil painting, glass lamp-working, printmaking, drawing or photography, Heather lets creative intuition guide her work.
Though Printmaking is Heather’s newest adventure, she has come to love the process of turning an idea into a completed print. Over the last few years, she has begun to carve linoleum which allows her to continue her exploration of texture through various cutting techniques. Printmaking has forced her to consider more graphic imagery. Her prints have evolved from black and white to multiple colors and layers.Heather’s work is derived by her enthusiasm in life and is expressed in whatever medium helps translate her feelings or fits her artistic mood. She is fortunate enough to show art regularly in all mediums. Heather looks forward to her next creative challenge, in whatever form it may take.

Scott Miller
smiller@dmac.edu

I have always had an interest in classical mythology. I am mainly interested in what the ancient tales tell us about ourselves and what lessons can be gained from them. Since I am concerning myself with older narratives, I feel that older forms of printmaking - wood engraving and relief printing in general - are appropriate to bring these stories to the viewer. Like the ancient stories of the Greeks and the Romans, they have the power to inform us about the nature of art making at the inception of the 21st century

Michael Boroniec
mb@mboroniec.com

Crude oil is a series of works that represent the american culture. It is an art history lesson. It is about oil baked portraits and religious icons. It is what american worships, essentially the POP need, like Andy Warhols "soap can". In essence it is a contemporary American landscape painting