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I was recently posted on Friedhard Kiekeben's http://www.nontoxicprint.com/intagliotype.htm and was asked to contribute a supplement to the Intaglio Type Section. I will be covering fundamentals of 4-Color Inversion Intaglio-Type and am currently creating a section to relate technical tips made easy, explaining the process of obtaining optimum halftone results that demonstrate the 4-color channel production workflow. Videos to come!
Bob came up today and changed the bulbs in the exposure unit, making all of the Gremlins go away! I spent 6 hrs. Tuesday night trying to work on some transparencies and exposure tests but nothing was going right at all and it also affected the four-color master printmaking class. Today I did some maintenance on the Canon iPF610; aligned the printer heads and cleaned the nozzles to help reduce the banding problem that we've been having. I went old school and had to do image exposure and 21-step tests to get everything going, my results turned out excellent so I went ahead and exposed/developed some 24" x 36" plates for my show that is coming up in April downtown at 4 Walls Gallery. Keith told me he won the one person show award for a painting he submitted to Au Naturale, he also pushed me to rework an image the other day. (Which it needed, but sometimes I call it a day due to all of these different school projects and deadlines.) Anyways, I'm happy with the way the image now, well worth the time and effort! I just heard from Friedhard Kiekeben recently, he asked me to write an article/outline for http://www.nontoxicprint.com covering the background and process of Four Color (CMYK) Intaglio Type, so I should definitely work on that! I first met Friedhard sometime back in 2004 when he was visiting us at RIT and giving a workshop on Edinburgh Etch among some other techniques. We helped him print and expose two of his new prints, he's visiting from Columbia College in Chicago. I submitted some work to SGCI, I was happy to send some work to Randy Bolton over at Cranbrook Art Academy in Michigan! (Even if it is a long shot, Keith nominated me for their fellowship.) Dinner the other night at Keith's, (we almost always do something at his place when he has a visitor.) was spaghetti and specially made sauce and vegetables for the non meat eaters like myself. And of coarse we had ice cream and mixed fruit because Bernie always spoils us. The garlic bread was really tasty, we talked about art life and print, and everything else in general; there's always plenty of stories to go around.
John, Seulgi and I went out with Friedhard and a bunch of the gang for "First Friday," he treated us for dinner over at Dorado's. (I love the fish sandwich there.) We headed out to the Hungerford where we were in a show for RIT's design schools called "Design on the ROCS." I heard yesterday that CITY Newspaper is going to write an article on it, which is kind of surprising, but it was a pretty good show. Village Gate, Booksmart, and Anderson Alley had a few openings... Oh, we also went to the RoCo show where some of us had work up. I met Richard Harvey, a local artist who I'd like to talk to again. I saw a small press with some old blue lid Akua Inks and asked him about it, he said someone had loaned it to him while they were out of the country. Then we started talking about De Kooning after he found out I was from NYC; we had both read a few similar books on him and I went off talking about Rauschenberg too. I think he really liked that... later I found out he's into sculpture, and digital art, printmaking/mixed-media. His work was up next to Seulgi's, she really likes his work but was too shy to talk to him when we were at his studio. (I had no idea she knew who he was.) SG got something like 8 "vote stickers" but RH actually won some type of award. I got one sticker, I think Seulgi put it there, but she said she didn't! Lol. I have to get out of here soon, there's a big snow storm outside and I need to be up for the intro printmaking class that I TA for in the A.M.
I am currently working on my artist statement, a few words need to be changed towards the final paragraphs, and I've yet to spell check... but it's coming along.
21st Century society allows a glimpse into the progressively evolving art paradigm that encompasses the rethinking and growing needs of our constantly transforming technological advancements.
In my work I look to explore and shift the possibilities of blurring the boundaries between medium, form, texture, and color. Having long been trained in the commercial production of traditional newspapers and magazines; where rubylith film and blue drafting pencil once reigned, I have developed an aesthetical sense and balance between more contemporary publishing techniques concentrated in digital manipulation and radical non toxic printmaking methods. I look to further converge the distinctions of prior established fundamentals, while re-appropriating methods for a dialogue of the current evolving trends and advancing technology of our times.
In an aim to better understand the evolution of the art world and my present day surroundings, I have come across the works of many great minds including Craig Owens, Duchamp, Rauschenberg, Baldessari, Kant, Freud, and Marcuse. The Sociological Perspective of life and history connect for me the variables of the past, present, and future, making many things transparent although sometimes complex; the accomplishments and discoveries of mankind are always found first in Nature. My innate curiosity and aspirations compel me to question the possibilities of the way different mediums can adapt and reflect the growing archetype of Hybridization found within our current and progressively advancing technological and Globalized Culture.
In the process of researching and developing techniques, my teaching philosophy and workflow has stemmed out of the practices of my time spent working in marketing and advertising for fashion and editorial companies where I had grown used to being surrounded and influenced by creative directors, photographers, models, stylists, writers, critics, and editors. It is this lifestyle that surrounded me in New York City while working for companies such as Armani, Hearst, Meredith, and Bonnier, which taught me the important advantages of having an appreciation for diversity in the complex world and apparatus of our Civilization.
I now look to submerge myself in discourse with my fellow artist contemporaries and colleagues who possess an insightful view into various forms of media and progressive communication trends; it is this collaborative effort of varied skills that drives the influences of my experimental Hybrids.
Hybrid forms leave artifacts of their distinct nature while at the same time becoming juxtaposed and integrated into a blurred visual aesthetic boundary between one medium and another. I work with materials that lend themselves to both two and three-dimensional environments, which at times become synonymous with their ability to morph into the potential of what I see within their infrastructure. I desire to reach a unified understanding of my environment, a challenge that I hope to never attain while holding truth to the crucial importance of questions over answers.
My life as of late has consisted of updating my resume, working on my artist statement, and testing out a few oversized 4c prints! I'm at Leah's place and Eder (from Brasil) is coming over so we can all hang out with Christina; I guess Rachel from Thunder Body is coming over too. I've also recently shipped my artwork for the Chastain Arts Center and Atlanta Printmakers Studio juried show that I was selected for! ~Happy Holidays
The Holiday break is approaching, updates soon... 1. Art Basel Miami 2. Almost Dying in the parking lot. 3. New prints!!! 24" x 36" 4Color
