INK IT
Contemporary Print Practices
FEBRUARY 27 - APRIL 10, 2021
Biennial Printmaking Exhibit Juried by Susan J. Goldman Highlights Works by Artists from Across the Region
The biennial juried exhibition INK IT: Contemporary Print Practices highlights current fine art print practices by featuring the best graphic work by artists from across the Mid-Atlantic region who choose both traditional and nontraditional printmaking processes to communicate images and words.
The 84 works on display in the exhibition were selected by this year’s juror Susan J. Goldman, an artist, master printmaker, curator, filmmaker and founding director of both Lily Press® and the Printmaking Legacy Project®.
The broad range or prints included in the INK IT: Contemporary Print Practices exhibition employ and combine techniques which include woodcut, linocut, lithography, engraving, etching, drypoint, chine colle, gravure, screenprinting, monoprint, collagraphy, digital printing, mixed media, as well as current innovations in printmaking.
The participating are from Delaware, Maryland, Pennsylvania, Washington, DC, Virginia, and West Virginia.
Featured Artists: Adjoa J. Burrowes; Catherine Hess; Jenny Frestone; Jake Lahah; Anne C. Smith; Patricia Underwood; Imar Hutchins; Bridget Murphy; Fleming Jeffries; Pauline Jakobsberg; Cindi Lewis; Hester Stinnett; Tom Greaves.
PARTICIPATING ARTISTS
Jill Adler
Sasa Aakil
Veronica Barker-Barzel
Agathe Bouton
Adjoa J. Burrowes
Kimberley Bursic
Susan Wooddell Campbell
Mary Ellen Carsley
Chayo de Chevez
Catherine Cole
Linda Colsh
Madeleine Conover
Rosemary Cooley
Jacqui Crocetta
Kristine DeNinno
Donald Depuydt
Aubrey Dunn
Dorothy Fall
Anne Finucane
Avis Fleming
Jane Forth
Jenny Freestone
Stephanie George
Robin Gibson
Tom Greaves
Amy C. Guadagnoli
Amelia Hankin
Jessi Hardesty
Marilyn J. Hayes
Mira Hecht
Dee Henry
Catherine Hess
Robert S. Hunter
Imar Hutchins
Rose Jaffe
Pauline Jakobsberg
Fleming Jeffries
Jill Jensen
Joyce Jewell
Claudine S. Jones
Gail Kaplan-Wassell
Rebecca Katz
Nilou Kazemzadeh
Barbara Kerne
Cookie Kerxton
Hanna Kesty
Brian Kreydatus
Jake Lahah
Jun Lee
Cindi Lewis
June Linowitz
Joseph Lupo
Chris Marcet
Sarah Matthews
Ron Meick
Diana Perez Miles
Steven Munoz
Bridget Murphy
Nina Muys
Lee Newman
Thomas J. Norulak
Cory Oberndorfer
Mary D. Ott
Susan Due Pearcy
Iris Posner
Carol Reed
Edgar Reyes
Gretchen Schermerhorn
Adi Segal
Gail Shaw-Clemons
Lisa Sheirer
Anne C. Smith
Rhonda J. Smith
Hester Stinnett
Terry Svat
Caroline Thorington
Patricia Underwood
Chloe Wack
Jenny Walton
Richard Weiblinger
Ellen Winkler
Max-Karl Winkler
Clare Winslow
Jane Woodard
THE EXHIBIT
Contemporary Print Practices
COPYRIGHT STATEMENT:
All images are the property of individual artists and are protected by copyright. No image can be used without the written permission of the artist.
To purchase or inquire about a piece, please contact Gallery Director, Anne Burton.
3-D GALLERY
Experience this display of imagination and technique in one of two ways. Navigate our New Virtual 3-D Gallery or view the images below.
ONLINE GALLERY
Carol Reed | Conversation (Turquoise and Gray)
2019
Stone lithograph with zinc plate blind embossment, carved rubber stamp prints, acrylic paint, colored pencil on Rives BFK paper
22" x 30" (paper)
Price: $1100 (unframed)
Edition of 10
In a busy world of turquoise blues, grays and black, this stone lithograph print is an abstract image of two figures engaged with each other in a scrappy exchange. The background texture of careful, regular pattern is a blind embossment made with an acid etched zinc plate. The imagery is intended to be literal and abstract, so, familiar graphic details function formally, while providing little shocks of recognition. Color, like confetti from discarded prints and paintings, fits together as puzzle pieces to build action and enliven the broken surface. Color also holds the imagery together, while visually allowing for the possibility it might break apart and rearrange at any moment.
Stone lithograph with zinc plate blind embossment, carved rubber stamp prints, acrylic paint, colored pencil on Rives BFK paper
22" x 30" (paper)
Price: $1100 (unframed)
Edition of 10
In a busy world of turquoise blues, grays and black, this stone lithograph print is an abstract image of two figures engaged with each other in a scrappy exchange. The background texture of careful, regular pattern is a blind embossment made with an acid etched zinc plate. The imagery is intended to be literal and abstract, so, familiar graphic details function formally, while providing little shocks of recognition. Color, like confetti from discarded prints and paintings, fits together as puzzle pieces to build action and enliven the broken surface. Color also holds the imagery together, while visually allowing for the possibility it might break apart and rearrange at any moment.
Jenny Freestone | Mother’s Day, 2020
2020
Photopolymer Gravure
15.5" x 10.5" (image)
22" x 15" (paper)
26" x 20" (frame)
Price: $350 (unframed)
Price $400 (framed)
Edition of 30
This print is a photopolymer gravure and combines drawn and photographed imagery. On Mother's Day 2020, I was given a bouquet of iris flowers from my son's garden, and due to covid restrictions, I was unable to hug him in thanks. I let the iris flowers dry until they were almost translucent. I photographed these remains, and combined one larger and one smaller, to represent respectively mother and child. The print is a homage to all mothers who were unable to hug their children, or who were separated from them, on Mother’s Day in 2020.
Photopolymer Gravure
15.5" x 10.5" (image)
22" x 15" (paper)
26" x 20" (frame)
Price: $350 (unframed)
Price $400 (framed)
Edition of 30
This print is a photopolymer gravure and combines drawn and photographed imagery. On Mother's Day 2020, I was given a bouquet of iris flowers from my son's garden, and due to covid restrictions, I was unable to hug him in thanks. I let the iris flowers dry until they were almost translucent. I photographed these remains, and combined one larger and one smaller, to represent respectively mother and child. The print is a homage to all mothers who were unable to hug their children, or who were separated from them, on Mother’s Day in 2020.
Jun Lee | Whisper and Wait
2020
Reduction Woodcut, 4-Color
25" x 39" (image)
30" x 43" (paper)
Price: $3000 (unframed)
“Whisper and Wait” is a four-layer reduction woodcut, inspired by the folk tale of the Moon Hare, channels the emotions which follow competition; waiting, anticipating and regrouping yourself for the next competition with your peers and competitors. Jun Lee is a printmaker who works in large format woodcut utilizing animals as metaphors to convey competition in our daily lives; pieces that express the spectrum of competition from hiding away to preparing for a fight. In a reduction woodcut, a single block is used for a multi-color print. Because you carve the block progressively as you print each color in order, this reduces the printed area with each layer. Once you complete the edition, you cannot reprint the block because it has been carved away.
Reduction Woodcut, 4-Color
25" x 39" (image)
30" x 43" (paper)
Price: $3000 (unframed)
“Whisper and Wait” is a four-layer reduction woodcut, inspired by the folk tale of the Moon Hare, channels the emotions which follow competition; waiting, anticipating and regrouping yourself for the next competition with your peers and competitors. Jun Lee is a printmaker who works in large format woodcut utilizing animals as metaphors to convey competition in our daily lives; pieces that express the spectrum of competition from hiding away to preparing for a fight. In a reduction woodcut, a single block is used for a multi-color print. Because you carve the block progressively as you print each color in order, this reduces the printed area with each layer. Once you complete the edition, you cannot reprint the block because it has been carved away.
Agathe Bouton | Color Reflection XI
2018
Monotypes mounted onto 4" x 4" x 1.5" wood panels
29" x 24" x 1.5"
Price: $2400
Courtesy of Stanek Gallery
“Color Reflection XI” is inspired by the patchworks of broken windows in older buildings with their mirrored images of sky and nearby buildings. For this series I mostly work with monotypes, applying a fine coat of ink onto plates and using masking paper to reveal the composition.
Monotypes mounted onto 4" x 4" x 1.5" wood panels
29" x 24" x 1.5"
Price: $2400
Courtesy of Stanek Gallery
“Color Reflection XI” is inspired by the patchworks of broken windows in older buildings with their mirrored images of sky and nearby buildings. For this series I mostly work with monotypes, applying a fine coat of ink onto plates and using masking paper to reveal the composition.
Chayo de Chevez | Eyeing The Melt - Quest Series
2020
Photo Digital Composite
28" x 24" (paper size)
35" x 31" (Mat Opening)
Price: $500 (unframed)
Price: $750 (framed)
For the past several years I have been dealing with issues that affect our fragile planet. Human global migration occupied me for several years; then on a trip to Alaska, I took the picture of a lone seagull eyeing the melting of ice below his wings. My present theme was inspired by this observation. This composition is a mixture of photography and drawing. I relied heavily upon my printmaking background, using strokes that mimic etching through the use of Photoshop. To give the image more strength and character, black and white, were my choice of palette.
Photo Digital Composite
28" x 24" (paper size)
35" x 31" (Mat Opening)
Price: $500 (unframed)
Price: $750 (framed)
For the past several years I have been dealing with issues that affect our fragile planet. Human global migration occupied me for several years; then on a trip to Alaska, I took the picture of a lone seagull eyeing the melting of ice below his wings. My present theme was inspired by this observation. This composition is a mixture of photography and drawing. I relied heavily upon my printmaking background, using strokes that mimic etching through the use of Photoshop. To give the image more strength and character, black and white, were my choice of palette.
Anne C. Smith | Sea
2020
Silkscreen monoprint
14" x 28" (image)
17" x 31" (paper)
22" x 36" (framed)
Price: $1300 (unframed)
Price: $1800 (framed)
Courtesy of Adah Rose Gallery
This silkscreen monoprint is one in a series of eight. It imagines an abstract landscape, split by the horizon, and suggests both night time and movement. Many of my drawings evoke night as a space of richness and imagination, while my silkscreen prints of the last few years capture an abstraction infused with light and color. In this series, I wanted to use the intense color of silkscreen ink to enter into a mysterious, transitional space where it seems that night is falling. An element of chance is involved in the way that I print the final layer of ink, which makes each print in the series its own facet of this imagined space.
Silkscreen monoprint
14" x 28" (image)
17" x 31" (paper)
22" x 36" (framed)
Price: $1300 (unframed)
Price: $1800 (framed)
Courtesy of Adah Rose Gallery
This silkscreen monoprint is one in a series of eight. It imagines an abstract landscape, split by the horizon, and suggests both night time and movement. Many of my drawings evoke night as a space of richness and imagination, while my silkscreen prints of the last few years capture an abstraction infused with light and color. In this series, I wanted to use the intense color of silkscreen ink to enter into a mysterious, transitional space where it seems that night is falling. An element of chance is involved in the way that I print the final layer of ink, which makes each print in the series its own facet of this imagined space.
Caroline Thorington | COVID Feat
2020
Lithograph
15.25" x 14.25" (image)
20" x 26" (paper)
24" x 30" (frame)
Price: $425 (unframed)
Price: $500 (framed)
Edition of 10 (with 2 Artist Proofs)
I drew “COVID Feat” on a lithography stone with tusche washes, lithography pencils, razor blades and rubbing ink, etched it and printed it on a manual lithography press. The idea for “COVID Feat” came from a photograph I saw of the virus itself. I saw all those little protrusions on the virus as feet sticking out of the spheroid body. I imagined the whole of the COVID-19 sphere, feet and all, lazily turning as the virus wound its way floating through space. I had several volunteers who allowed me to draw their feet and I even drew my own. Since the “COVID Feat” lithograph is spherical, it can be viewed from any direction and that is part of the final Covid feat.
Lithograph
15.25" x 14.25" (image)
20" x 26" (paper)
24" x 30" (frame)
Price: $425 (unframed)
Price: $500 (framed)
Edition of 10 (with 2 Artist Proofs)
I drew “COVID Feat” on a lithography stone with tusche washes, lithography pencils, razor blades and rubbing ink, etched it and printed it on a manual lithography press. The idea for “COVID Feat” came from a photograph I saw of the virus itself. I saw all those little protrusions on the virus as feet sticking out of the spheroid body. I imagined the whole of the COVID-19 sphere, feet and all, lazily turning as the virus wound its way floating through space. I had several volunteers who allowed me to draw their feet and I even drew my own. Since the “COVID Feat” lithograph is spherical, it can be viewed from any direction and that is part of the final Covid feat.
Adjoa J. Burrowes | Winds of Change 12
2020
Monoprint
10" x 7.75" (image)
14" x 11" (paper)
16" x 13" (frame)
Price: $300 (unframed)
Price: $400 (framed)
“Winds of Change 12” was part of a series which grew out of the turbulence of 2020 that included the pandemic, and its resulting socio-political trauma. My monotype, with its use of dark colors and abstract shapes, was my response to those times.
Monoprint
10" x 7.75" (image)
14" x 11" (paper)
16" x 13" (frame)
Price: $300 (unframed)
Price: $400 (framed)
“Winds of Change 12” was part of a series which grew out of the turbulence of 2020 that included the pandemic, and its resulting socio-political trauma. My monotype, with its use of dark colors and abstract shapes, was my response to those times.
Pauline Jakobsberg | After Katrina
2019
Collagraph with etching and handmade paper
30" x 24" x 2"
Price: $800 (framed)
One and a half years after the devastation from Katrina, I volunteered with the St Bernard Project to rebuild in New Orleans. Wherever I looked, uninhabitable collapsed homes still had unsalvageable possessions strewn about on muddy front lawns, articles of clothing draped over broken door frames and partial rooftops, as if a tornado had come through. My piece "After Katrina" hangs as a witness to this needless tragedy.
Collagraph with etching and handmade paper
30" x 24" x 2"
Price: $800 (framed)
One and a half years after the devastation from Katrina, I volunteered with the St Bernard Project to rebuild in New Orleans. Wherever I looked, uninhabitable collapsed homes still had unsalvageable possessions strewn about on muddy front lawns, articles of clothing draped over broken door frames and partial rooftops, as if a tornado had come through. My piece "After Katrina" hangs as a witness to this needless tragedy.
Ron Meick | Too Close for Distance
2020
Lithograph, chine collé, 1914 map, varied edition of 6
11" x 7" (image)
14" x 10" (paper)
21.5" x 17.7" (frame)
Price: $500 (unframed)
Price: $600 (framed)
Edition: Varied edition of 6
“Too Close for Distance” is part of a series of lithographs using maps from an antique atlas. The stone lithograph was drawn using litho crayons and tusche to make the subtle washes. The stone was etched twice using gum arabic and nitric acid. It was printed while simultaneously gluing the maps using wheat paste or chine collé. All orchestrated by using stencils for placement. It took many proofs getting moisture levels in the paper and maps so they would adhere. This is a varied edition of 6 because the maps used in this print are unique.
Lithograph, chine collé, 1914 map, varied edition of 6
11" x 7" (image)
14" x 10" (paper)
21.5" x 17.7" (frame)
Price: $500 (unframed)
Price: $600 (framed)
Edition: Varied edition of 6
“Too Close for Distance” is part of a series of lithographs using maps from an antique atlas. The stone lithograph was drawn using litho crayons and tusche to make the subtle washes. The stone was etched twice using gum arabic and nitric acid. It was printed while simultaneously gluing the maps using wheat paste or chine collé. All orchestrated by using stencils for placement. It took many proofs getting moisture levels in the paper and maps so they would adhere. This is a varied edition of 6 because the maps used in this print are unique.
Jacqui Crocetta | (dis) placement
2019
Etching with aquatint
9" x 6.875" (image)
10.75" x 9" (paper)
14.5" x 12.375" (frame)
Price: $400 (unframed)
Price: $550 (framed)
Edition of 3
“(dis) placement,” an etching with aquatint, was created in response to my first impression of The Wharf DC. Anticipating a light hearted evening out with friends, I found myself distracted by feelings of sadness and loss for the people and businesses displaced by this luxury, waterfront redevelopment project. The composition includes abstracted “ghost traps”—abandoned crab traps that are detached from the float. Crabs enter ghost traps to eat the bait, become trapped and then starve to death.
Etching with aquatint
9" x 6.875" (image)
10.75" x 9" (paper)
14.5" x 12.375" (frame)
Price: $400 (unframed)
Price: $550 (framed)
Edition of 3
“(dis) placement,” an etching with aquatint, was created in response to my first impression of The Wharf DC. Anticipating a light hearted evening out with friends, I found myself distracted by feelings of sadness and loss for the people and businesses displaced by this luxury, waterfront redevelopment project. The composition includes abstracted “ghost traps”—abandoned crab traps that are detached from the float. Crabs enter ghost traps to eat the bait, become trapped and then starve to death.
Tom Greaves | M. Lisa
2020
Pigmented ink on paper, on stretched canvas
44" x 32"
Price: $1200
"M. Lisa" is my effort to convey a feeling of victory in the act of fixing the broken and healing the damaged. The work depicts a cherished photograph that has been damaged — then repaired — time and time again. The restoration of the photo, however, comes with a tension between the need for attachment and the feeling of release. Preserving the past, in order to anchor the present. In the face of uncertainty, we want to solidify whatever we can. The process of building the same image over and over may parallel our attempts to restore our relationship with our future in the world. I have long thought that people do the best with what they have; current movements like zero waste are evidence of our ability to adapt. Ultimately things from our past that we can fix today can inform our future.
Pigmented ink on paper, on stretched canvas
44" x 32"
Price: $1200
"M. Lisa" is my effort to convey a feeling of victory in the act of fixing the broken and healing the damaged. The work depicts a cherished photograph that has been damaged — then repaired — time and time again. The restoration of the photo, however, comes with a tension between the need for attachment and the feeling of release. Preserving the past, in order to anchor the present. In the face of uncertainty, we want to solidify whatever we can. The process of building the same image over and over may parallel our attempts to restore our relationship with our future in the world. I have long thought that people do the best with what they have; current movements like zero waste are evidence of our ability to adapt. Ultimately things from our past that we can fix today can inform our future.
Patricia Underwood | Temple EV1
2021
Photo screen print, mm on Arches, mounted on wood panel, sealed with varnish
40" x 40"
Price: $3000
“Temple”, EV1 is a portrait of two ancient Giant Redwoods, part of a body of work which Patricia will solo show at the Athenaeum, Alexandria VA in April of this year, entitled “Trees/Humans: Life in the Balance”. Struck by the beauty, resilience and long record of survival of ancient trees she has photographed on her travels, she ponders the stark contrast between humans' invasive habitation of the planet and trees ‘give and take’ collaborative tenancy. “Temple” EV1 employs a photo image of the Redwoods silk-screened onto Arches paper and mounted on wood panel, onto which she adds layers of drawing, painting and printing to create a ‘magical realism’ of works that speak for the trees and visualize their urgent pleadings for reverence, revealing their ancient wisdom.
Photo screen print, mm on Arches, mounted on wood panel, sealed with varnish
40" x 40"
Price: $3000
“Temple”, EV1 is a portrait of two ancient Giant Redwoods, part of a body of work which Patricia will solo show at the Athenaeum, Alexandria VA in April of this year, entitled “Trees/Humans: Life in the Balance”. Struck by the beauty, resilience and long record of survival of ancient trees she has photographed on her travels, she ponders the stark contrast between humans' invasive habitation of the planet and trees ‘give and take’ collaborative tenancy. “Temple” EV1 employs a photo image of the Redwoods silk-screened onto Arches paper and mounted on wood panel, onto which she adds layers of drawing, painting and printing to create a ‘magical realism’ of works that speak for the trees and visualize their urgent pleadings for reverence, revealing their ancient wisdom.
Susan Due Pearcy | Revisiting History - Columbus
2020
monotype with chine collé, collage, pencil, pastel on Arches 88
22.25" x 16" (unframed)
24" x 18" (framed)
Price: $900 (matted and unframed)
Price: $1100 (matted and framed with museum glass)
“Revisiting History – Columbus” is a monotype on Arches 88 paper, printed with akua ink, and includes chine collé and collage. It was created during civil rights strife expressed through the removal/destruction of offensive statues that glorified the Confederacy. The movement stirred questions of the history I had been taught and the role of Christopher Columbus as “the founder” of our nation and how his legacy was celebrated. Now that we have revisited history, we see him with new eyes. He has been “beheaded” symbolically and sent back to sea.
monotype with chine collé, collage, pencil, pastel on Arches 88
22.25" x 16" (unframed)
24" x 18" (framed)
Price: $900 (matted and unframed)
Price: $1100 (matted and framed with museum glass)
“Revisiting History – Columbus” is a monotype on Arches 88 paper, printed with akua ink, and includes chine collé and collage. It was created during civil rights strife expressed through the removal/destruction of offensive statues that glorified the Confederacy. The movement stirred questions of the history I had been taught and the role of Christopher Columbus as “the founder” of our nation and how his legacy was celebrated. Now that we have revisited history, we see him with new eyes. He has been “beheaded” symbolically and sent back to sea.
Cindi Lewis | Row of Pears
2020
Hand-colored etching, watercolor on aquatint etching
4" x 6" (image)
7.5" x 10.5" (paper)
12" x 15" (frame)
Price: $295 (matted, unframed)
Price: $350 (framed)
Edition of 10, not all of which are colored.
In addition to printmaking, I work in a number of drawing and painting media and I enjoy exploring the effects of depicting the same image in different media. The basic image for my print in this show began as a small, bright, cheerful oil painting. I liked the composition and the round forms of the pears and decided to do an aquatint etching print version of the image. I used black ink, which gave the print a grittier feel than the painting. Finally, I colored one of the etchings with watercolors in somewhat muted tones, which yielded an image with a somewhat sedate and old-fashioned feel.
Hand-colored etching, watercolor on aquatint etching
4" x 6" (image)
7.5" x 10.5" (paper)
12" x 15" (frame)
Price: $295 (matted, unframed)
Price: $350 (framed)
Edition of 10, not all of which are colored.
In addition to printmaking, I work in a number of drawing and painting media and I enjoy exploring the effects of depicting the same image in different media. The basic image for my print in this show began as a small, bright, cheerful oil painting. I liked the composition and the round forms of the pears and decided to do an aquatint etching print version of the image. I used black ink, which gave the print a grittier feel than the painting. Finally, I colored one of the etchings with watercolors in somewhat muted tones, which yielded an image with a somewhat sedate and old-fashioned feel.
Adi Segal | Jacaranda Water Tank
2018
Screenprint and collage on fabric, mounted on paper
30" x 22.25" (image)
29.125" x 36.875" (frame)
Price: $750 (framed)
Edition of 1
“Jacaranda Water Tank” is part of a series of work examining context and symbols relating to life as an ex-pat in Lilongwe, Malawi. I was interested in re-animating the ubiquitous African wax print fabrics, chitenges, with symbols and imagery found in the landscape. Through hand-screenprinting, patterning, and collaging, the fabric chitenges I bought in Malawi, but which were made in China, were re-imagined and re-centered to become more relevant to (my experiences of) contemporary Malawi.
Screenprint and collage on fabric, mounted on paper
30" x 22.25" (image)
29.125" x 36.875" (frame)
Price: $750 (framed)
Edition of 1
“Jacaranda Water Tank” is part of a series of work examining context and symbols relating to life as an ex-pat in Lilongwe, Malawi. I was interested in re-animating the ubiquitous African wax print fabrics, chitenges, with symbols and imagery found in the landscape. Through hand-screenprinting, patterning, and collaging, the fabric chitenges I bought in Malawi, but which were made in China, were re-imagined and re-centered to become more relevant to (my experiences of) contemporary Malawi.
Nilou Kazemzadeh | The Space Between
2019
Screen printed farsi handwriting on ink-jet printed photographs
17.5" x 55" (12 prints, installed as shown)
Price Upon Request
“The Space Between I” includes two family photographs. One image is of two of my relatives in their orchards in Hossienabad, Iran, and the other image is of my childhood self playing outside in Ashton, Maryland. The black and white edit almost makes it seem like we both exist in the same space and time. The Space Between II is of a photo taken during 4th of July back when I was a child. The photo includes my mother, my brother, and myself and my predominantly white neighbors. This piece is about assimilation as an immigrant family. On both pieces, screen printed farsi flows and veils each print. The translation of the farsi reads "I brought it into existence, and since it had form I could dwell within it.
Screen printed farsi handwriting on ink-jet printed photographs
17.5" x 55" (12 prints, installed as shown)
Price Upon Request
“The Space Between I” includes two family photographs. One image is of two of my relatives in their orchards in Hossienabad, Iran, and the other image is of my childhood self playing outside in Ashton, Maryland. The black and white edit almost makes it seem like we both exist in the same space and time. The Space Between II is of a photo taken during 4th of July back when I was a child. The photo includes my mother, my brother, and myself and my predominantly white neighbors. This piece is about assimilation as an immigrant family. On both pieces, screen printed farsi flows and veils each print. The translation of the farsi reads "I brought it into existence, and since it had form I could dwell within it.
Jill Jensen | Mother: Earth
2020
Woodcut
60" x 23" (image)
65" x 40" (paper)
Price: $625 (unframed)
Carving a large piece of wood to create a printing plate is a time consuming activity that requires patience to complete. I had an idea for this print but much of the imagery was designed as I carved the 60” x 23” wood block. The figure stands on rocks with water and sky behind her to represent the physical aspects of earth. An image of the planet is placed in a flower inspired by fabric that my daughter gave me after a trip to Africa. Her body is covered with growing plants and vines. Roots down to the ground and then growing upward on her body. Her face looks directly as the viewer with a determined gaze. By using a variety of black and white patterns and floral designs on her body, I wanted to create a mother that represented all of us.
Woodcut
60" x 23" (image)
65" x 40" (paper)
Price: $625 (unframed)
Carving a large piece of wood to create a printing plate is a time consuming activity that requires patience to complete. I had an idea for this print but much of the imagery was designed as I carved the 60” x 23” wood block. The figure stands on rocks with water and sky behind her to represent the physical aspects of earth. An image of the planet is placed in a flower inspired by fabric that my daughter gave me after a trip to Africa. Her body is covered with growing plants and vines. Roots down to the ground and then growing upward on her body. Her face looks directly as the viewer with a determined gaze. By using a variety of black and white patterns and floral designs on her body, I wanted to create a mother that represented all of us.
Ellen Winkler | Hooded
2019
Drypoint with roulette
5" x 7" (image)
15" x 11.25" (paper)
19" x 17" (frame)
Price: $400 (unframed)
Price: $500 (framed)
Edition of 8
Before the pandemic, I spent the hour or so that it took me to commute into town on the subway, sketching other riders. I always have kept loose sheets of drawing paper and some sanguine chalk in my bag, and I would draw anyone who held still for a bit. Mostly I was unobserved. Back in the studio, I would scale the drawings up and make prints of them using the drypoint technique. I was interested in the delicacy of individual lines I could make, but also in my ability to create tone using roulettes. Riding the subway seems now like such a distant memory.
Drypoint with roulette
5" x 7" (image)
15" x 11.25" (paper)
19" x 17" (frame)
Price: $400 (unframed)
Price: $500 (framed)
Edition of 8
Before the pandemic, I spent the hour or so that it took me to commute into town on the subway, sketching other riders. I always have kept loose sheets of drawing paper and some sanguine chalk in my bag, and I would draw anyone who held still for a bit. Mostly I was unobserved. Back in the studio, I would scale the drawings up and make prints of them using the drypoint technique. I was interested in the delicacy of individual lines I could make, but also in my ability to create tone using roulettes. Riding the subway seems now like such a distant memory.
Cory Oberndorfer | Pops Bomb through Twin (after Johns)
2020
Hanco Ink Lithograph on Rives BFK Paper
17.5" x 7.25" (image)
21" x 15" (paper)
24.5" x 13.75" (frame)
Price: $350 (unframed)
Price: $650 (framed)
Edition of 30
This print is part of Cory Oberndorfer's Pop: Artist series. It imagines his iconic popsicle images as they might be rendered by Jasper Johns. This print was inspired by Johns's "0 through 9" lithograph. "Pops Bomb through Twin (after Johns)" was previously presented as a painting in Oberndorfer's solo exhibition “Pop: Everlasting” at BlackRock Center for the Arts in 2014.
Hanco Ink Lithograph on Rives BFK Paper
17.5" x 7.25" (image)
21" x 15" (paper)
24.5" x 13.75" (frame)
Price: $350 (unframed)
Price: $650 (framed)
Edition of 30
This print is part of Cory Oberndorfer's Pop: Artist series. It imagines his iconic popsicle images as they might be rendered by Jasper Johns. This print was inspired by Johns's "0 through 9" lithograph. "Pops Bomb through Twin (after Johns)" was previously presented as a painting in Oberndorfer's solo exhibition “Pop: Everlasting” at BlackRock Center for the Arts in 2014.
Clare Winslow | Gesture Drawing 3
2021
Screenprint on Rives BFK, 1/1
30" x 22" (unframed)
34.5" x 26.5" (framed)
Price: $250 (unframed)
Price: $400 (framed)
Edition of 1
“Gesture Drawing 3” is an abstract screenprint which was hand-printed using an improvisatory approach that did not rely on drawing, photography or computer. The print was created using ribbons, light-sensitive emulsion, light, silkscreen, ink, and a squeegee.
Screenprint on Rives BFK, 1/1
30" x 22" (unframed)
34.5" x 26.5" (framed)
Price: $250 (unframed)
Price: $400 (framed)
Edition of 1
“Gesture Drawing 3” is an abstract screenprint which was hand-printed using an improvisatory approach that did not rely on drawing, photography or computer. The print was created using ribbons, light-sensitive emulsion, light, silkscreen, ink, and a squeegee.
Dorothy Fall | Snow Trees
2020
Monotype, ink with acrylic
22" x 30" (paper)
Price: $1200 (unframed)
For the past ten years I have been obsessed with trees as the subject of my art. I have painted them with oil bar and with acrylic on Vietnamese paper, three dimensional cast paper figures in their trunks to portray their humanlike characteristics on canvas and now the subject of monotypes. I work spontaneously, subconsciously using the knowledge and experience of many artist years to guide me. “Snow Trees” started in black and white, the ink and print consistent with a technique I have evolved. Then the colored paint was added to make the trees come alive in their almost frozen state.
Monotype, ink with acrylic
22" x 30" (paper)
Price: $1200 (unframed)
For the past ten years I have been obsessed with trees as the subject of my art. I have painted them with oil bar and with acrylic on Vietnamese paper, three dimensional cast paper figures in their trunks to portray their humanlike characteristics on canvas and now the subject of monotypes. I work spontaneously, subconsciously using the knowledge and experience of many artist years to guide me. “Snow Trees” started in black and white, the ink and print consistent with a technique I have evolved. Then the colored paint was added to make the trees come alive in their almost frozen state.
Amelia Hankin | Messengers
2019
Screenprint on folded glassine, pins, resin casts of antique cups and bowls
108" x 96" x 3"
Price: $1200
In “Messengers,” I translated objects inherited from my grandparents into an installation that both honors their memory and comments on the frailty of life. Through the screenprinting process, the paper airplanes in “Messengers” are printed from pieces of my grandparents’ lace tablecloths. The sculptural shapes that anchor the rising airplanes are resin casts from pieces of a tea set that was passed down and re-appropriated. The installation is also a nod to the poem “Hope is the thing with feathers” by Emily Dickinson. It’s a poem that, throughout the years, I’ve read many times but most recently the message and metaphor feels more raw, weighted, and powerful. The human capacity for hope, depicted in the poem, inspired me to create pieces about renewal. The paper airplanes act as catalysts from this life to the next. They represent the human need for hope, and the calm, quiet resilience of the human soul.
Screenprint on folded glassine, pins, resin casts of antique cups and bowls
108" x 96" x 3"
Price: $1200
In “Messengers,” I translated objects inherited from my grandparents into an installation that both honors their memory and comments on the frailty of life. Through the screenprinting process, the paper airplanes in “Messengers” are printed from pieces of my grandparents’ lace tablecloths. The sculptural shapes that anchor the rising airplanes are resin casts from pieces of a tea set that was passed down and re-appropriated. The installation is also a nod to the poem “Hope is the thing with feathers” by Emily Dickinson. It’s a poem that, throughout the years, I’ve read many times but most recently the message and metaphor feels more raw, weighted, and powerful. The human capacity for hope, depicted in the poem, inspired me to create pieces about renewal. The paper airplanes act as catalysts from this life to the next. They represent the human need for hope, and the calm, quiet resilience of the human soul.
Mary D. Ott | Summer Reflections II
2019
Unique etching with aquatint, printed through, oil pastel, on Unryu Thai blue chiffon
18" x 23.75" (unframed with mat)
24" x 30" (framed)
Price: $900 (unframed)
Price: $1000 (framed)
Edition of 1
“Summer Reflections II” is an etching with oil pastel printed on a piece of Unryu Thai blue chiffon mulberry paper. The design on the etching plate was made by using stop-out resist to block the acid and form grass-like lines on the plate. To create the effect of a reflection, the paper was folded lengthwise before being printed. The etching ink went through the first layer of paper and also through the second layer. After the paper was unfolded, oil pastel was applied to the print.
Unique etching with aquatint, printed through, oil pastel, on Unryu Thai blue chiffon
18" x 23.75" (unframed with mat)
24" x 30" (framed)
Price: $900 (unframed)
Price: $1000 (framed)
Edition of 1
“Summer Reflections II” is an etching with oil pastel printed on a piece of Unryu Thai blue chiffon mulberry paper. The design on the etching plate was made by using stop-out resist to block the acid and form grass-like lines on the plate. To create the effect of a reflection, the paper was folded lengthwise before being printed. The etching ink went through the first layer of paper and also through the second layer. After the paper was unfolded, oil pastel was applied to the print.
![Imar Hutchins | Untitled [Josephine Baker]](https://static.wixstatic.com/media/75b391_8eacbb8dae904203910e33add93bf020~mv2.jpg/v1/fill/w_360,h_465,al_c,q_75/75b391_8eacbb8dae904203910e33add93bf020~mv2.webp)
Imar Hutchins | Untitled [Josephine Baker]
2018
Limited edition 18-color serigraph, printed on BFK Rives 250 gsm
Edition of 42
24" x 18" (image)
25.5" x 19.5" (paper)
Price: $2000 (unframed)
This print is my homage to Josephine Baker. It is based on a larger collage portrait of I created in 2018 that sought to understand Josephine in a way that defies her stereotype—that is, as a mother (she adopted 12 children of every race and religion), a spy in the French Resistance and as an anti-capitalist. This print uses areas of color only to interpret the various inputs (old Ebony and Life magazines, ephemera, clippings, etc.) that formed the larger collage. It also seeks to capture the energy and elusive feeling that made Josephine unique. My design was inspired by an iconic 1931 poster by Jean Chassaing, which was the only poster that focused on Josephine’s face and not her body.
Limited edition 18-color serigraph, printed on BFK Rives 250 gsm
Edition of 42
24" x 18" (image)
25.5" x 19.5" (paper)
Price: $2000 (unframed)
This print is my homage to Josephine Baker. It is based on a larger collage portrait of I created in 2018 that sought to understand Josephine in a way that defies her stereotype—that is, as a mother (she adopted 12 children of every race and religion), a spy in the French Resistance and as an anti-capitalist. This print uses areas of color only to interpret the various inputs (old Ebony and Life magazines, ephemera, clippings, etc.) that formed the larger collage. It also seeks to capture the energy and elusive feeling that made Josephine unique. My design was inspired by an iconic 1931 poster by Jean Chassaing, which was the only poster that focused on Josephine’s face and not her body.
Rosemary Cooley | Spring Was Different
2020
Monoprint collage
12" x 16" (paper)
16" x 20" (frame)
Price: $400 (framed)
Edition of 3 (Variable Edition)
As a printmaker, I love paper and ink. Layering adds dimension to my work and process drives the end result, whether using stencils, marking tools, masks or pastel embellishments. Collage elements give historical and lyrical clues into what is on my mind.
Monoprint collage
12" x 16" (paper)
16" x 20" (frame)
Price: $400 (framed)
Edition of 3 (Variable Edition)
As a printmaker, I love paper and ink. Layering adds dimension to my work and process drives the end result, whether using stencils, marking tools, masks or pastel embellishments. Collage elements give historical and lyrical clues into what is on my mind.
Steven Munoz | Binary Bee
2018
Reduction Woodcut, 4-color
40" x 30" (unframed)
41.375" x 31.375" (framed)
Price: $2100 unframed
Price: $2400 framed
Edition of 4
“Binary Bee” was my first large-format reduction woodcut, a reduction print is a multi-color print where each separate color is carved and printed from the same block at different stages, each color in succession usually light to dark, as the original surface of the block is cut away or reduced. There is no margin for error using this technique. The bee is crawling through a large zero with binary code above the bee translates to: “Bees understand the concept of zero.” A science journal I read published a report indicating that bees can count to four and understand the concept of zero. This article was the genesis that culminated in the creation of “Binary Bee.” The research showed that bees possess a mathematical ability once thought to exist only in dolphins, primates, birds and humans who are beyond the preschool years.
Reduction Woodcut, 4-color
40" x 30" (unframed)
41.375" x 31.375" (framed)
Price: $2100 unframed
Price: $2400 framed
Edition of 4
“Binary Bee” was my first large-format reduction woodcut, a reduction print is a multi-color print where each separate color is carved and printed from the same block at different stages, each color in succession usually light to dark, as the original surface of the block is cut away or reduced. There is no margin for error using this technique. The bee is crawling through a large zero with binary code above the bee translates to: “Bees understand the concept of zero.” A science journal I read published a report indicating that bees can count to four and understand the concept of zero. This article was the genesis that culminated in the creation of “Binary Bee.” The research showed that bees possess a mathematical ability once thought to exist only in dolphins, primates, birds and humans who are beyond the preschool years.
Bridget Murphy | Greek Steps
2020
Etching
8" x 6" (image)
14" x 11" (paper)
14" x 11" (frame)
Price: $175 (unframed)
Price: $250 (framed)
Edition of 5
I was attracted to the landscape composition in “Greek Steps” because of the strong light and shadows. The simplicity of white-washed walls with nature ‘creeping’ into the image in multiple areas adds to the mystery of the landscape as well as the beauty of walking through ancient paths. This print was created using traditional intaglio printmaking methods. It incorporates line etching and multiple aquatints which gives the image its various greyscale tones.
Etching
8" x 6" (image)
14" x 11" (paper)
14" x 11" (frame)
Price: $175 (unframed)
Price: $250 (framed)
Edition of 5
I was attracted to the landscape composition in “Greek Steps” because of the strong light and shadows. The simplicity of white-washed walls with nature ‘creeping’ into the image in multiple areas adds to the mystery of the landscape as well as the beauty of walking through ancient paths. This print was created using traditional intaglio printmaking methods. It incorporates line etching and multiple aquatints which gives the image its various greyscale tones.
Hanna Kesty | Target
2020
Silkscreen and Glitter
17" x 19" (paper)
24" x 30" (frame)
Price: $65 (unframed)
Price: $110 (framed)
Edition of 8
“Target” illustrates what it is like to be a young girl, woman, or any marginalized individual in contemporary society. Growing up, I’m sure like most young girls, women, and any marginalized group, I was constantly picked on, teased, etc., without any rhyme or reason. I felt like an easy target and still do as a 23-year-old woman. It is as if we wear these invisible indicators unbeknownst to ourselves, but to others around us these indicators are clear signs for verbal attack. Clear signs that we are the bait.
Silkscreen and Glitter
17" x 19" (paper)
24" x 30" (frame)
Price: $65 (unframed)
Price: $110 (framed)
Edition of 8
“Target” illustrates what it is like to be a young girl, woman, or any marginalized individual in contemporary society. Growing up, I’m sure like most young girls, women, and any marginalized group, I was constantly picked on, teased, etc., without any rhyme or reason. I felt like an easy target and still do as a 23-year-old woman. It is as if we wear these invisible indicators unbeknownst to ourselves, but to others around us these indicators are clear signs for verbal attack. Clear signs that we are the bait.
Edgar Reyes | Corazón
2018
Digital print on woven canvas
30" x 11" (unframed)
Price: $450 (unframed)
The piece “Corazón” was inspired by traditional weaving practices in Mexico. The history and different significant roles that members of a family play and the impact of tourism. Rituals such as harvesting plants for pigments, prepping wool, and designing the textile all mix Indigenous and European techniques. My design interweaves an image of a couple juxtaposed with glitched and manipulated representations of traditional textile designs. The sourced image I acquired from photographs that I have purchased when visiting my own family in Mexico. Images like this one date back to the early 1900’s and were staged to be used mainly as postcards to promote tourism to distinct regions. My work is a critique on the impact that commercializing culture can have on marginalized communities who now for decades have been pushed to monetize an authentic experience for tourists.
Digital print on woven canvas
30" x 11" (unframed)
Price: $450 (unframed)
The piece “Corazón” was inspired by traditional weaving practices in Mexico. The history and different significant roles that members of a family play and the impact of tourism. Rituals such as harvesting plants for pigments, prepping wool, and designing the textile all mix Indigenous and European techniques. My design interweaves an image of a couple juxtaposed with glitched and manipulated representations of traditional textile designs. The sourced image I acquired from photographs that I have purchased when visiting my own family in Mexico. Images like this one date back to the early 1900’s and were staged to be used mainly as postcards to promote tourism to distinct regions. My work is a critique on the impact that commercializing culture can have on marginalized communities who now for decades have been pushed to monetize an authentic experience for tourists.
Madeleine Conover | Shirt for Two (Sisters)
2020
Screenprint on madder dyed silk
22" x 18" x 56"
Price: $6000
I have been working with the connected garment form for over a year now. For the piece “Shirt for Two (Sisters),” I wanted to highlight the colors of the garment and repeat screenprinting process. I began by dyeing the silk with madder root and then hand drew my repeat pattern in three layers. These layers include repeated symbols seen throughout my larger body of work and include: cherry blossoms, braids, pacifiers, combs, hairbrushes, and Chinese characters for older and younger sister. One side of the garment hangs higher to signify the hierarchy of an older sister and younger sister relationship that is waiting to begin.
Screenprint on madder dyed silk
22" x 18" x 56"
Price: $6000
I have been working with the connected garment form for over a year now. For the piece “Shirt for Two (Sisters),” I wanted to highlight the colors of the garment and repeat screenprinting process. I began by dyeing the silk with madder root and then hand drew my repeat pattern in three layers. These layers include repeated symbols seen throughout my larger body of work and include: cherry blossoms, braids, pacifiers, combs, hairbrushes, and Chinese characters for older and younger sister. One side of the garment hangs higher to signify the hierarchy of an older sister and younger sister relationship that is waiting to begin.
Mary Ellen Carsley | Peonies
2019
Woodblock Reduction with hand-painted monotype detailing
18" x 24.5" (image)
22.5" x 30" (paper size)
26" x 32.5" (frame)
Price: $350 (unframed)
Price: $550 (framed)
Edition of 6 (2/6)
“Peonies”, like most of my subjects, began while sketching in my garden. The original, highly detailed sketch was in graphite and watercolor. Then the sketch was transformed into an ink drawing. This drawing became the base of the 5-color woodblock reduction print. Once the greens and blue were carved into the block and progressively printed, the blossoms themselves were hand-painted monotype prints. This was to capture the subtle variations in the pink tones of the petals. The final touch was the delicate carving and printing of the yellow flower centers.
Woodblock Reduction with hand-painted monotype detailing
18" x 24.5" (image)
22.5" x 30" (paper size)
26" x 32.5" (frame)
Price: $350 (unframed)
Price: $550 (framed)
Edition of 6 (2/6)
“Peonies”, like most of my subjects, began while sketching in my garden. The original, highly detailed sketch was in graphite and watercolor. Then the sketch was transformed into an ink drawing. This drawing became the base of the 5-color woodblock reduction print. Once the greens and blue were carved into the block and progressively printed, the blossoms themselves were hand-painted monotype prints. This was to capture the subtle variations in the pink tones of the petals. The final touch was the delicate carving and printing of the yellow flower centers.
Jill Adler | Pile Rises as Life Gets in the Way
2020
Screenprint on artist's handmade cotton paper
11" x 14" x 1" (single sheet)
11" x 14" x 4" (Installation, pile of 10 sheets, as shown)
4" x 15" x 12" (custom clear acrylic display box)
Price: $300 (single sheet, each)
Price: $450 (single sheet print with custom clear acrylic display box)
I remember always seeing a stack of salmon-colored newspapers in the corner of my Dad’s office. To me, a pile of newspapers stands as a physical representation of passed time; the importance of the information contained within each folded paper becomes secondary to the height and heft of the pile itself. In attempting to recreate this familiar pink pile, I wrote about my personal memories of The Financial Times and screen printed the text onto my own pigmented handmade paper.
Screenprint on artist's handmade cotton paper
11" x 14" x 1" (single sheet)
11" x 14" x 4" (Installation, pile of 10 sheets, as shown)
4" x 15" x 12" (custom clear acrylic display box)
Price: $300 (single sheet, each)
Price: $450 (single sheet print with custom clear acrylic display box)
I remember always seeing a stack of salmon-colored newspapers in the corner of my Dad’s office. To me, a pile of newspapers stands as a physical representation of passed time; the importance of the information contained within each folded paper becomes secondary to the height and heft of the pile itself. In attempting to recreate this familiar pink pile, I wrote about my personal memories of The Financial Times and screen printed the text onto my own pigmented handmade paper.
Amy C. Guadagnoli | Tethered/Untethered
2021
woodblock print (multi-block reduction)
8" x 21" (paper)
14.125" x 28.125" (frame)
Price: $500 (unframed)
Price: $625 (framed)
On a grey January day in 2020, the color drained away from my world as my wife and life partner drew her final breath. “Tethered/Untethered” is part elegy and part meditation on the invisible boundary between life and death. Using gestural strokes, subtle colors, and dense patterns, this image transforms shapes from medical devices, IV bags, and monitors into heraldic flags, elements of landscape, and symbols of spiritual passage. “Tethered/Untethered” illustrates my experience of the complexities of grief and bears witness to the bravery and grace of those crossing over and those left behind.
woodblock print (multi-block reduction)
8" x 21" (paper)
14.125" x 28.125" (frame)
Price: $500 (unframed)
Price: $625 (framed)
On a grey January day in 2020, the color drained away from my world as my wife and life partner drew her final breath. “Tethered/Untethered” is part elegy and part meditation on the invisible boundary between life and death. Using gestural strokes, subtle colors, and dense patterns, this image transforms shapes from medical devices, IV bags, and monitors into heraldic flags, elements of landscape, and symbols of spiritual passage. “Tethered/Untethered” illustrates my experience of the complexities of grief and bears witness to the bravery and grace of those crossing over and those left behind.
Max-Karl Winkler | Stairwell, North Yorkshire
2019
Reduction Woodcut (8-Color)
13.75" x 11" (image)
20" x 15" (paper)
24" x 18" (frame)
Price: $700 (unframed)
Price: $800 (framed)
Edition of 20
“Stairwell, North Yorkshire” was inspired by the stairwell of a stone cottage, dating from 1750, in North Yorkshire. The print is a reduction woodcut, which permits the artist to produce a multicolor image from a single block of wood. The technique is somewhat counterintuitive: the artist begins by (1) carving away those parts of the image that will be the color of the paper and then (2) printing the first color; (3) the shapes that will appear as the first color in the final print are then carved away from the block, and (4) the block is printed with the second color. These steps continue until all colors have been printed.
Reduction Woodcut (8-Color)
13.75" x 11" (image)
20" x 15" (paper)
24" x 18" (frame)
Price: $700 (unframed)
Price: $800 (framed)
Edition of 20
“Stairwell, North Yorkshire” was inspired by the stairwell of a stone cottage, dating from 1750, in North Yorkshire. The print is a reduction woodcut, which permits the artist to produce a multicolor image from a single block of wood. The technique is somewhat counterintuitive: the artist begins by (1) carving away those parts of the image that will be the color of the paper and then (2) printing the first color; (3) the shapes that will appear as the first color in the final print are then carved away from the block, and (4) the block is printed with the second color. These steps continue until all colors have been printed.
Chloe Wack | “do you still love me even when summer is gone?”
2019
Lithograph
9" x 14" (image)
11" x 16" (paper)
16.25" x 21.375" (frame)
Price: $70 (unframed)
Price: $340 (framed)
The title of this lithograph may at first seem evocative of a fleeting summer romance, but in reality it is about the experience of being in a relationship with someone who suffers from seasonal depression. The inspiration for this print was a photograph taken on a hot July afternoon, while the print itself was made during the cold dreary evenings of December. This work is about the cyclical struggle of loving someone who's emotional availability and energy ebb and flow with the changing of the seasons just as the tides ebb and flow on a beach.
Lithograph
9" x 14" (image)
11" x 16" (paper)
16.25" x 21.375" (frame)
Price: $70 (unframed)
Price: $340 (framed)
The title of this lithograph may at first seem evocative of a fleeting summer romance, but in reality it is about the experience of being in a relationship with someone who suffers from seasonal depression. The inspiration for this print was a photograph taken on a hot July afternoon, while the print itself was made during the cold dreary evenings of December. This work is about the cyclical struggle of loving someone who's emotional availability and energy ebb and flow with the changing of the seasons just as the tides ebb and flow on a beach.
Fleming Jeffries | Geo-fictions: Truth and Frictions
2019
Photo lithography on indigo-dyed paper
20" x 15" (paper)
23" x 18" (frame)
Price: $400 (unframed)
Price: $550 (framed)
“Geofictions: Truth and Frictions” is a meditation on borders, divisions, and colonialism throughout history. The print is a photolithograph in 3 colors of countries and regions in the world. The US/Mexican border is recognizable yet skewed; groups of land-locked, war-torn, and otherwise divided counties vie for space, scale and survival among the continents, treaties and archipelago of geographic vulnerabilities. The ruler-straight lines of colonialism contrast with the irregularity of natural borders. The resulting image is a camouflage of geopolitical frictions, floating on an indigo-dipped sheet of paper. This print was made for a portfolio curated by Sheila Goloborotko and Andrew Kozlowski for Southern Graphics Conference in Dallas 2019. The theme was “Habitus: A Contemplative Manifesto,” investigating slow readings of the world around us.
Photo lithography on indigo-dyed paper
20" x 15" (paper)
23" x 18" (frame)
Price: $400 (unframed)
Price: $550 (framed)
“Geofictions: Truth and Frictions” is a meditation on borders, divisions, and colonialism throughout history. The print is a photolithograph in 3 colors of countries and regions in the world. The US/Mexican border is recognizable yet skewed; groups of land-locked, war-torn, and otherwise divided counties vie for space, scale and survival among the continents, treaties and archipelago of geographic vulnerabilities. The ruler-straight lines of colonialism contrast with the irregularity of natural borders. The resulting image is a camouflage of geopolitical frictions, floating on an indigo-dipped sheet of paper. This print was made for a portfolio curated by Sheila Goloborotko and Andrew Kozlowski for Southern Graphics Conference in Dallas 2019. The theme was “Habitus: A Contemplative Manifesto,” investigating slow readings of the world around us.
Gail Shaw-Clemons | Mask 13
2020
Mixed Media
14" x 11" (paper)
22" x 15" (frame)
Price: $700 (unframed)
Price: $900 (framed)
“Mask 13” represents spirits of ancestors past, yet many masks are extremely futuristic. African mask also inspired Modern art {representing the past while inspiring the future}. They really embodied the term “back to the future.” I thought about the mask as embodying the spirit of my ancestors as protectors, with that in mind, I began to envision the mask as transparent in order to achieve a spiritual effect. With much experimentation, I turned the mask drawings into lithographs while adding at least 30 layers of gel medium to each print. I soaked them in water and removed the paper, leaving just the image encased in clear plastic. The transparencies inspired me to overlap different masks with endless possibilities. This process empowered me to achieve my goal of creating mysterious effects, while calling up the ancestors deep within.
Mixed Media
14" x 11" (paper)
22" x 15" (frame)
Price: $700 (unframed)
Price: $900 (framed)
“Mask 13” represents spirits of ancestors past, yet many masks are extremely futuristic. African mask also inspired Modern art {representing the past while inspiring the future}. They really embodied the term “back to the future.” I thought about the mask as embodying the spirit of my ancestors as protectors, with that in mind, I began to envision the mask as transparent in order to achieve a spiritual effect. With much experimentation, I turned the mask drawings into lithographs while adding at least 30 layers of gel medium to each print. I soaked them in water and removed the paper, leaving just the image encased in clear plastic. The transparencies inspired me to overlap different masks with endless possibilities. This process empowered me to achieve my goal of creating mysterious effects, while calling up the ancestors deep within.
Brian Kreydatus | The 14th of April: Gabriel Reading
2020
Handprinted relief on rice paper
12" x 9" (image)
16" x 13" (paper)
19"x 16" (frame)
Price: $300 (unframed)
Price: $400 (framed)
Edition of 12
“The 14th of April: Gabriel reading” is from a series I have completed since the pandemic lockdown last March. I lost the use of my studio and press, so I began to work at home surrounded by my family and began to explore handprinting for the first time. The works in the series are all related to the anxiety and isolation caused by the pandemic. The bold simplicity of the woodcut along with its status as the oldest form of printmaking seem to be appropriate for this situation that is simultaneously new and timeless. “The 14th of April” series is a record of family life over the last 10 months- me recording my daughter trying to stay connected to the rest of the world digitally and in this work specifically, my son James wearing our now ubiquitous masks. The title of the series and this print was inspired by Gillian Welch’s song “Ruination Day: Part 2” describing this particular date in US history that has witnessed Lincoln’s assignation, the sinking of the Titanic, the largest storm of the dustbowl, and now a day that was part of the height of the early pandemic.
Handprinted relief on rice paper
12" x 9" (image)
16" x 13" (paper)
19"x 16" (frame)
Price: $300 (unframed)
Price: $400 (framed)
Edition of 12
“The 14th of April: Gabriel reading” is from a series I have completed since the pandemic lockdown last March. I lost the use of my studio and press, so I began to work at home surrounded by my family and began to explore handprinting for the first time. The works in the series are all related to the anxiety and isolation caused by the pandemic. The bold simplicity of the woodcut along with its status as the oldest form of printmaking seem to be appropriate for this situation that is simultaneously new and timeless. “The 14th of April” series is a record of family life over the last 10 months- me recording my daughter trying to stay connected to the rest of the world digitally and in this work specifically, my son James wearing our now ubiquitous masks. The title of the series and this print was inspired by Gillian Welch’s song “Ruination Day: Part 2” describing this particular date in US history that has witnessed Lincoln’s assignation, the sinking of the Titanic, the largest storm of the dustbowl, and now a day that was part of the height of the early pandemic.
Nina Muys | Sunrise and the Moon | Carborundum Intaglio
2020
18" x 12" (unframed)
24" x 16" (framed)
Price: $375 (unframed)
Price: $425 (framed)
Edition of 3
The print “Sunrise and the Moon” captures the same view at different times of day from the window of my studio in Easton, MD. I created this print using three separate plates and a technique called carborundum intaglio. It is non-toxic form of printmaking I have developed which mimics traditional etching. I use cardboard and carborundum powder mixed with acrylic paint to incorporate collographed textures into the plate and then ink a la poupee, by dabbing and wiping with pieces of cloth.
18" x 12" (unframed)
24" x 16" (framed)
Price: $375 (unframed)
Price: $425 (framed)
Edition of 3
The print “Sunrise and the Moon” captures the same view at different times of day from the window of my studio in Easton, MD. I created this print using three separate plates and a technique called carborundum intaglio. It is non-toxic form of printmaking I have developed which mimics traditional etching. I use cardboard and carborundum powder mixed with acrylic paint to incorporate collographed textures into the plate and then ink a la poupee, by dabbing and wiping with pieces of cloth.
Chris Marcet | The Treehouse
2020
Zinc plate etching
8" x 6" (image)
11" x 10" (paper)
14" x 11" (frame)
Price: $240 (unframed)
Price: $300 (framed)
The etching, “The Treehouse,” was inspired by the feeling of protection a home gives after a stretch as a vagabond, and memories of a childhood treehouse in Orlando, Florida. The nexus of “The Treehouse” piece is the small cup of hot tea held by the tranquil inhabitant. This print was created at Discover Graphics, in the Torpedo Factory Art Center in Alexandria, VA.
Zinc plate etching
8" x 6" (image)
11" x 10" (paper)
14" x 11" (frame)
Price: $240 (unframed)
Price: $300 (framed)
The etching, “The Treehouse,” was inspired by the feeling of protection a home gives after a stretch as a vagabond, and memories of a childhood treehouse in Orlando, Florida. The nexus of “The Treehouse” piece is the small cup of hot tea held by the tranquil inhabitant. This print was created at Discover Graphics, in the Torpedo Factory Art Center in Alexandria, VA.
Aubrey Dunn | The Space Between Us
2018
Screenprint on paper and vellum
7 prints and 2 miniature books, book enclosure
3.125" x 4.75" (each individual print, 7 total)
3.125" x 4.75" (each book, 2 or 5 sheets thick)
3.25" x 4.875" (book enclosure - closed)
9.875" x 9.875" (book enclosure - open and flat)
Price: $500 (7 prints, 2 miniature books, book enclosure)
Edition of 5
I made “The Space Between Us” as part of a body of work during a residency in Venice, Italy. It was a chance for me to explore a sense of dissociation I felt as I watched a relationship splinter with space. This evolved to include a reckoning with myself: realizing how the self I thought myself to be was actually a figment of the past. The space between my reality and my perceived self seemed infinite, and worth exploring. My process was purposefully unplanned: I exposed about 10 screens with a body of imagery, and selectively utilized these in each composition. The result was that each piece emerged slowly and reactively as I jumped back and forth between each.
Screenprint on paper and vellum
7 prints and 2 miniature books, book enclosure
3.125" x 4.75" (each individual print, 7 total)
3.125" x 4.75" (each book, 2 or 5 sheets thick)
3.25" x 4.875" (book enclosure - closed)
9.875" x 9.875" (book enclosure - open and flat)
Price: $500 (7 prints, 2 miniature books, book enclosure)
Edition of 5
I made “The Space Between Us” as part of a body of work during a residency in Venice, Italy. It was a chance for me to explore a sense of dissociation I felt as I watched a relationship splinter with space. This evolved to include a reckoning with myself: realizing how the self I thought myself to be was actually a figment of the past. The space between my reality and my perceived self seemed infinite, and worth exploring. My process was purposefully unplanned: I exposed about 10 screens with a body of imagery, and selectively utilized these in each composition. The result was that each piece emerged slowly and reactively as I jumped back and forth between each.
Richard Weiblinger | Red Burst 4007
2020
digital print
16" x 20" (paper)
22" x 28" (frame)
Price: $150 (unframed)
Price: $300 (framed)
The subject of my image "Red Burst 4007" is a fiber optic bundle. My image was digitally enhanced to create an intended surreal effect and to highlight the vibrant color of the fiber optic bundle thus creating the desired "Burst" effect. Since I recently retired with a science background which included collaborative research efforts dealing with light and more specifically focused on laser light technological research. I have always been fascinated with light and color, thus my interest in creating art with light being transmitted through a fiber optic bundle.
digital print
16" x 20" (paper)
22" x 28" (frame)
Price: $150 (unframed)
Price: $300 (framed)
The subject of my image "Red Burst 4007" is a fiber optic bundle. My image was digitally enhanced to create an intended surreal effect and to highlight the vibrant color of the fiber optic bundle thus creating the desired "Burst" effect. Since I recently retired with a science background which included collaborative research efforts dealing with light and more specifically focused on laser light technological research. I have always been fascinated with light and color, thus my interest in creating art with light being transmitted through a fiber optic bundle.
Barbara Kerne | Reflections
2021
Pulp painting with etching, collage, hand coloring
10.5" x 9.5" (paper)
Price: $500 (unframed)
Price: $900 (framed)
It is New Year 2021, my birthday on January 1st, in the 8th decade of my life of making pictures and I cannot help but think about my past, this difficult time right now, and what might come. I have collaged my introspective portrait, a black and white etching, on a ground of handmade pulp paper. All together this represents a new year as a new time for freedom and exuberance, a Celebration of life. HOPE.
Pulp painting with etching, collage, hand coloring
10.5" x 9.5" (paper)
Price: $500 (unframed)
Price: $900 (framed)
It is New Year 2021, my birthday on January 1st, in the 8th decade of my life of making pictures and I cannot help but think about my past, this difficult time right now, and what might come. I have collaged my introspective portrait, a black and white etching, on a ground of handmade pulp paper. All together this represents a new year as a new time for freedom and exuberance, a Celebration of life. HOPE.
Cookie Kerxton | Sphere VII
2018
Monotype
35" x 27" (framed)
Price: $1,800 (framed)
“Sphere VII” is from a series of monotypes created with an emphasis on color and geometric shapes. I have always loved print making, especially monotypes. There is always an element of surprise after it is run through the press. The colors and shapes do great unexpected things.
My work is primarily about abstractions of color, design, and shape. My eye is drawn to patterns and shapes in whatever setting i find myself, taking inspiration from local color in the areas i have traveled, and in simple items that present themselves to my eye. I have traveled extensively throughout the world, and these experiences have influenced my art in many different media. The colored skeins of thread from the markets of Morocco, the figure of a young girl in Mexico, and hospital food in Poland have each become part of a varied and progressive body of work.
Monotype
35" x 27" (framed)
Price: $1,800 (framed)
“Sphere VII” is from a series of monotypes created with an emphasis on color and geometric shapes. I have always loved print making, especially monotypes. There is always an element of surprise after it is run through the press. The colors and shapes do great unexpected things.
My work is primarily about abstractions of color, design, and shape. My eye is drawn to patterns and shapes in whatever setting i find myself, taking inspiration from local color in the areas i have traveled, and in simple items that present themselves to my eye. I have traveled extensively throughout the world, and these experiences have influenced my art in many different media. The colored skeins of thread from the markets of Morocco, the figure of a young girl in Mexico, and hospital food in Poland have each become part of a varied and progressive body of work.
Kristine DeNinno | One with Water II
2019
Collagraph on sintra board with recycled materials 7 plates chine collé using linocut printed with gamblin inks on Rives BFK and Akua inks on Sumi paper size
31.5" x 17" (unframed)
36.5" x 22" (framed)
Price: $440 (unframed)
Price: $540 (framed)
Edition of 1
“One with Water II” combines three print techniques collagraph, chine collé and linocut. I am typically inspired by nature and water elements with themes on protecting our environment. I collect natural and recycled materials to be imbedded into the making of the plate. The varying textures add a sophisticated nature to the elements. This combined process of techniques allows for a free-flowing artistic print process much like the inspiration of the many elements of nature itself.
Collagraph on sintra board with recycled materials 7 plates chine collé using linocut printed with gamblin inks on Rives BFK and Akua inks on Sumi paper size
31.5" x 17" (unframed)
36.5" x 22" (framed)
Price: $440 (unframed)
Price: $540 (framed)
Edition of 1
“One with Water II” combines three print techniques collagraph, chine collé and linocut. I am typically inspired by nature and water elements with themes on protecting our environment. I collect natural and recycled materials to be imbedded into the making of the plate. The varying textures add a sophisticated nature to the elements. This combined process of techniques allows for a free-flowing artistic print process much like the inspiration of the many elements of nature itself.
Iris Posner | Glyph Series: Map Stele
2019
Mixed Media: relief, monotype, chine collé, hand painting
13.5" x 27.5" (image)
16" X 30" (paper)
$1200 (unframed)
Research has shown that humans have been mark making for 100,000 years, but it was a recent finding that 32 non-figurative marks made by humans were in common use across time and place 40,000 years ago that inspired a series on Stone Age marks of which “Glyph Series: Map Stele” is a part. The work uses actual Paleolithic marks together with marks inspired by now known Stone Age migration patterns, to envision the movement and sharing of human marks across the globe. The history of human mark making provides evidence of the human need to "leave their mark" as well as the commonality that bonds all humans.
Mixed Media: relief, monotype, chine collé, hand painting
13.5" x 27.5" (image)
16" X 30" (paper)
$1200 (unframed)
Research has shown that humans have been mark making for 100,000 years, but it was a recent finding that 32 non-figurative marks made by humans were in common use across time and place 40,000 years ago that inspired a series on Stone Age marks of which “Glyph Series: Map Stele” is a part. The work uses actual Paleolithic marks together with marks inspired by now known Stone Age migration patterns, to envision the movement and sharing of human marks across the globe. The history of human mark making provides evidence of the human need to "leave their mark" as well as the commonality that bonds all humans.
Jane Woodard | Night Birds
2018
Collagraphic Monoprint: Incorporating intaglio and relief techniques with masks
8" x 11.5" (image)
Price: $190 (unframed)
Edition of 1
Many of my prints are colorful and daylight scenes, I was intrigued to try a darker palette. I chose a theme of birds gathered on a wire and rooftops at night. The print was a combination of materials and techniques: intaglio and relief with masks and styrene plates. The several pieces were inked and the impression was made in one pass through the press.
Collagraphic Monoprint: Incorporating intaglio and relief techniques with masks
8" x 11.5" (image)
Price: $190 (unframed)
Edition of 1
Many of my prints are colorful and daylight scenes, I was intrigued to try a darker palette. I chose a theme of birds gathered on a wire and rooftops at night. The print was a combination of materials and techniques: intaglio and relief with masks and styrene plates. The several pieces were inked and the impression was made in one pass through the press.
Rose Jaffe | Green Garden
2020
Monoprint
26" x 22" (framed)
Price: $1400 (framed)
"Green Garden" is a trace monoprint inspired from a photo taken at Botanical Gardens in Washington, D.C. The soft line quality is specifically reminiscent of this type of monoprint, something I wanted to use to highlight the softness and organic nature of the figure in connection to the leaves that surround her.
Monoprint
26" x 22" (framed)
Price: $1400 (framed)
"Green Garden" is a trace monoprint inspired from a photo taken at Botanical Gardens in Washington, D.C. The soft line quality is specifically reminiscent of this type of monoprint, something I wanted to use to highlight the softness and organic nature of the figure in connection to the leaves that surround her.
Kimberley Bursic | A Sailor Who Found...
2019
collagraph, monotype, chine collé
15" x 11" (paper)
18" x 14" (framed)
Price: $300 (unframed)
Price: $350 (framed)
"A Sailor Who Found..." is part of a series of collagraph monoprints I created in 2019. The pieces were inspired by a children's history book written in 1942 they explore how information taken out of the context of time and presentation leaves the words false or malleable in meaning. Using chapter titles and pages torn from the book as chine collé material. I used the same collagraph plate for each image but printed in different orientations. The prints vary with different wiping techniques, like one would use when wiping an etching plate, relief rolling the collagraph elements and painting directly on the plate for different effects.
collagraph, monotype, chine collé
15" x 11" (paper)
18" x 14" (framed)
Price: $300 (unframed)
Price: $350 (framed)
"A Sailor Who Found..." is part of a series of collagraph monoprints I created in 2019. The pieces were inspired by a children's history book written in 1942 they explore how information taken out of the context of time and presentation leaves the words false or malleable in meaning. Using chapter titles and pages torn from the book as chine collé material. I used the same collagraph plate for each image but printed in different orientations. The prints vary with different wiping techniques, like one would use when wiping an etching plate, relief rolling the collagraph elements and painting directly on the plate for different effects.