Location: West Coast of Canada
Interviewed by mizudesigns
Squidoo lenses on printmaking: All About Printmaking, Printmaking Artists on the Web
Federation of Canadian Artists.
Emily Carr Institute of Art and Design, and I was hooked. To me, process is really key. I love the challenge of interpreting an image or an idea into a print, building the process in my mind, working within the constraints of the media, exploring ways to expand beyond them, and realizing the final outcome on paper. Printmaking requires development of precise technical skill and craftsmanship, yet provides an expressive medium for creative artistic dialogue.
My fascination with the natural world is evident in my artwork. Nature and the artifacts of civilization are my subjects. The interaction and inter-relationship of our technological heritage with nature, the irony of the competition between nature and progress, and the sheer beauty and diversity of the natural world form the content of my current work. My imagery is realistic, but my focus is often abstracted through magnification or cropping to an almost unrecognizable result. I tend to work on a small scale, because the delicacy of my work mirrors the beautiful minutiae we are surrounded by. The inherent physical restrictions challenge my skills as an artist and as a printmaker.
Primarily, I work with relief printmaking, especially reduction cut relief. I have recently discovered a material called “black linoleum”, which is really a vinyl composite of some kind. It is very smooth and easy to cut, and has similar thickness to linoleum. I carve my blocks using professional quality wood-carving tools, my absolute favourite is my 45º V-gouge. I use Faust AquaLine and Daniel Smith water-soluble inks on many different papers, although my most common include Strathmore Bristol and Rising Stonehenge for “western” papers, and kitakata and masa for “eastern”. Until very recently, all of my work was hand-burnished, but I have become the proud owner of a new mini-press, which makes life a lot easier!
The other two printmaking methods which I favour are stone lithography and acrylic monotype. I love lithography because of it's flexibility and the autographic quality of the drawn image that I'm able to achieve through that medium. Monotypes give me an opportunity to be more painterly in my printmaking approach; as I print them while the paints are still wet, there is also a lot more spontaneity involved than in the rigorous planning of reduction relief prints or lithographs. Both monotype printing and lithography provide me with opportunities to print on a larger scale.
Malaspina Printmakers, I don't find that there are many commercial venues for printmakers in my immediate area. Appreciation and support of art, and printmaking specifically, seems to be not as strong on the West Coast of Canada as in other parts of North America, or other countries, so it's certainly a challenge.
I'm a newby (and not very active!) to Etsy; I just joined November 2007, and listed my first pieces in January 2008, and sold my first piece in March. It's great to have a venue like Etsy available, as there is an international community geared specifically towards artists and craftspeople to showcase their work and make it available to the world at large.