David Avery

We seem to live in an age where words, images and objects have been looted of meaning. So I have come to think of the etchings I make as being miniature Rorschachs, acting upon the experiences and senses of both the careful viewer and the artist. Even a simple nursery rhyme, once you start picking at it, can

reveal layer upon layer of associations and further meanings. And so, I find myself both consciously and unconsciously striving towards images receptive to being endowed with meaning, that is, those able to release a capacity for wonder.

Leslie Brown

Andrew DeCaen

Justin Diggle

My current work takes as its central focus the idea of Surveillance and the many forms that this can take. In our increasingly technological society it is becoming common to be spied upon or to spy on others in some way. In many cities, just walking down the street can mean that you have been filmed or photographed many times, either from street cameras, ATM machines or by cameras inside shops or subway stations. It would be extremely difficult in these areas to go about a normal routine without being photographed. This type of surveillance is certainly more common in some countries than others. The United Kingdom, for example, is a leader in the use of CCTV. These cameras can also be linked to biometric databases to automatically track or look for specific individuals. Apart from governmental or institutional surveillance there is also a growth in the use of these technologies by private individuals. This is partly due to cost; almost all mobile phones for instance have some kind of basic camera and many are also sound and video recording devices. Only a few years ago almost no one carried a camera as they went about their daily routine, now it is commonplace. Almost any event, public or private, can and has been recorded by these phones. These images, and digital videos, can also now be uploaded to the Internet extremely quickly and be seen by millions; and certainly not always done with the consent of those filmed. This is a topic that will continue to interest, not only because of how we might react or change our behaviour when under a cameras gaze, but whether it always necessary, or in some cases legal. It also questions the right and expectation of privacy, and how what we feel constitutes privacy is perhaps being changed by our adoption of certain technologies.

Elizabeth Dove

In form my prints balance photographic material with drawings or accidental marks as a reference to the concepts also held in balance; concepts like the known and unknown, structure and chaos, or nature and nurture.

Stefanie Dykes

I have lived my entire life in Salt Lake City, Utah. This community was envisioned and established under the patriarchal authority of the Church of Jesus Christ of Latter Day Saints. My community might be described as a culture of a holy book. For me, much of Mormon mythology and sacred texts read as long epic poems. Their scriptural texts describe the men as adventurers, conquerors, and visionaries, while rarely mentioning the women's contribution in the establishment of my local culture. Patriarchy is not unique to Utah, but in my work entitled, Placing and Replacing, I explore concepts of enculturation, lingering outdated gender roles and contemporary self-identity that are common to my experience. The strong masculine images are presented in a codex form, a single page folded down the middle and joined with other pages on wooden newspaper sticks. I have printed the personal history of Rebecca Nicholson Sylvester written after her death in 1909 by her daughter, Rosenia Jarvis, on the backside of the photographs. The text was printed backwards so that, although difficult, it is right reading through the image on the front side of the paper. Placing and Replacing 'reads' without a linear narrative thread as the images can unfold and reveal themselves in any order. Assembled and hung on the wall, I see myself bound up together in a present depiction of masculine authority of my community along with the feminine recollections and stories of my maternal ancestors. The images in Placing and Replacing reflect a struggle with an 'ill fitting' identity.

Susan D'Zmura

"The past is, it's a living thing, it's this relationship between ourselves and our personal history and our racial history and our national history that gets made sort of distant. But if you make it into a person, then it's an inescapable confrontation." — Toni Morrison

A.Bingham Freeman

Accident on 3rd Street: My paper sculpture is about taking prints, drawings anything on archival paper and turning it into a personal statement. Leaning Man: I consider life drawing a basic endeavor to access my creative intuition.

Teresa Gomez-Martorell

One of my favorite books is Gabriel Garcia Marquez "One hundred years of solitude". This is one of the first paragraphs about the foundation of a village named Macondo. The world was so recent that many things lacked names and to mention them, they had to be pointed at. The reason I like this book, is this broken boundary between the rational and the irrational, supernatural phenomenon is to explain the unknown and to integrate in the real life. Printmaking is my primary medium. This allows to me to develop ideas by printing an image onto different surfaces, to repeat and to transform it. Whether printmaking is the chosen medium, poetry and surrealism are the chosen language. Printmaking allows me to put together image and text and to work in a more narrative way. The idea of interrelation among all my works goes towards the installation and the object, such books, small sculptures, and big format prints, transforming my personal experiences in a universal language that can be understandable for everybody. I feel my body of art is not finished because the process of life in itself is an open field in constant change.

Victoria Goro-Rapoport

Dirk Hagner

Arts and Letters For me the art of multiple impressions in printmaking is really unimaginable without referring to the intelligence of markmaking exhibited by the creation of written language. Visual marks become writing and text transforms into visual elements. To work with them together in surprising combinations is the goal of theses pieces.

Olga Gerdjikov

Stephen Horn

Anyone who works in clay is confronted with a multitude of possibilities. Complexity and surprise are built into the medium, the process, the technology. Take one purposeful step down an artistic path, and you're immediately face to face with a crossroads that wasn't on your mental GPS. Should you keep going straight—or, what the hell, wouldn't it be more fun to turn left or right and see what you run into? Exploring the unexpected side roads has always appealed to me. It's like going on a walkabout. As a teacher I always say to students: "Try it and see what happens." This is my own artistic mantra. My aesthetic wanderings have been guided by the works of the ancient Minoans, Etruscans, Greeks, and Romans; by Japanese ceramic traditions—Jomon, Haniwa, Iga, Bizen, and Oribe; by artists like Gauguin, Miró, Picasso, Motherwell, Pollock, and George Ohr; and by the ideas of minimalism and other art movements. My modes of working in clay encompass drawing, painting, and printing as well as handbuilding, moldmaking, and throwing (if only, sometimes, to smash a pot on the wheel or to engineer its collapse). What I hope unites my work is a sense of the excitement I experienced in going offroad—and there's still so much to explore out there.

Along with my own personal questions about purpose and existence, this work is motivated by some of our most troubling and yet unresolved issues, in particular our environmental abuses and religious conflicts.

Ann Johnston-Schuster

In my woodcuts, I endeavor to redefine personal vulnerability, not as a constraint but as a link to our humanity. The figures in my artwork are children that have fallen victim to the physical and emotional constraints placed upon them. In a society built upon the precepts of aggression, their vulnerability leaves them isolated and forgotten. Shock and Awe… presents an outraged young man's hope to speak to a system that is indifferent to his well-being. Through a cadence of linear reiteration my varied striation of gouge marks creates a still-video effect. This ornamental miasma of line ensnares the figure as a metaphor to the physical, social and mental limitations created by our disregard and apathy. I have begun to paint my imagery to further enhance a more hyper realistic colorized presentation of this reality. Ultimately, to instill a sense of order, my artwork provides a haven that protects and insulates the subjects represented. The ceremony of innocence is drowned; The best have lost all convictions, while the worst are full of passionate intensity... W.B. Yeats

Cyrus Lemmon

This work is a study of the formal composition created when constructed world of human endeavor and the natural world meet. The balance and contrasts in the visual patterns and designs that occur in this overlap form the root of my exploration. In the heart of a city or deep within a wilderness, the surrounding landscape is dominated by the constructed or natural to the point of eclipsing the other entirely. In the fringes, where these realms butt up against each other in an often uneasy juxtaposition of geometric lines, angles and shapes against curved, fluid organic ones, is where this work resides.

Carolyn Liesy

I am a printmaker with a focus on etching. Generally my work is abstract. I like to use text in my compositions. The etching Ubi Caritas Deus Ibi Est is a liturgical chant that translates: Wherever love and compassion are, there God is. In a time when people are either anti religion or highly righteous about their religion, I think that many know in their souls, but sometimes forget in their pronouncements, the fundamental truth of this ancient song. Personally I am theologically promiscuous and at the same time deeply interested in a relationship with God.

Gloria Lujan-Whitney

LETHAL BEAUTY After going through breast cancer for the second time I decided to "work out my issues" through my printmaking. It's my preferred medium of expression. Through my oncologist I was able to meet with two researchers at UCLA who were studying breast cancer cells and looking for a "cure." They allowed me to view some cells under the microscope and showed me some electron microscope photos they had made. It confirmed to me these deadly cells were indeed beautiful. My composition is designed with two separate framed prints. For each of these prints I made a series of three litho plates, six plates in all. This allowed for color variations. The purpose of the composition was to depict how I envisioned my breast cancer cells I wanted to pay homage to the fallen who have lost their battle and to every woman who has undergone treatment for "these cells." In the wake of all the damage they cause we still have hope. The fact that so many are survivors gives us reason to believe there will be a cure soon for these "Lethal Beauties."

Presley Martin

Growing up with scientist parents trained me to be a curious observer of my surroundings. As an artist I try to live a simple life that allows me to draw inspiration from ordinary moments of everyday life, whether it's weeds growing along the freeway or marks left by clay on paper. When I started walking to work, the roadside natural world came to life like never before, and has provided a lasting influence and inspiration for my work. I also found inspiration while mixing clay; I noticed clay's ability to make a mark and then dry and be removed and exist as a separate object. What interests me about these things is the relationship between the reality I observe and the preconceived notions we have about these materials. My work explores these relationships by pairing discovery with obsessive activity. The resulting pieces are as much a record of an event as they are works of formalist sculpture.

Paul Mitchell

My practice is a pursuit of seeking the occurrences, which stir the soul. I hope to capture and amplify the unpredictable sparks of beauty and intimacy, gut felt tremors of despair and horror and moments of distillation and understanding. These happenings reveal the wondrous, but often tragic propensity of the human soul towards conflict and struggle, with each other, our environment and our selves.

Dennis Olsen

To those who doubt that he is "the most competent person within creation to shovel manure in six universes", Naveed is a formidable opponent.

Sheila Pitt

After the catastrophic accident that left me a quadriplegic I thought I would never make prints again. With limited use of my left hand there was no way to cut wood, the print medium I had done most of my life. My prints use polymer plates printed as an etching. Using a Wacom tablet, my computer and Photoshop, I am able to draw. My studio assistant manipulates Photoshop for me, I do all the drawing and image making. My assistant then etches the image. This series is a visual diary which documents slow but steady recovery using techniques I had never imagined before my accident.

Cheryl Rogers

My current body of work explores connections between printmaking and sculpture, and the making of prints with sculptural qualities. I have been studying the various lines and mark making made possible by powered implements and am impressed by the range of emotive responses that can be achieved. Through the combination of modern power tools and traditional printmaking methods I am creating images that imply 3-dimensional space, as well as movement in time, or what is sometimes referred to as the 4th dimension. I try to evoke different senses of mass, space, movement and energy in each piece as I change the structure, form and properties of the mark making

Thierry Rosset

Lines are endless and lead to the infinite. Shapes define a limited space. I aim at provoking a dialogue (or perhaps sometimes a rejection) between them. Indeed, I am interested in and intrigued by the tension so created. Once in a while a print is enhanced by superimposing a reverse ghost on the first printed image.

Benjamin Sandness

My present body of work is fueled by my desire to understand myself. I am working to gain understanding by evaluating the parts that make up my whole. I have begun to look separately at my consciousness, worries, roles, decisions, possessions, creations, consumption, faults, and burdens. This work becomes a quest for self definition as I move beyond just inventorying these personal qualities to create images and objects that illustrate my experience of these qualities. In my current work, I focus on identifying and depicting the experience of my worries. I make drawings and prints that depict the things I find myself worrying about. The images often include every-day objects as metaphors for the tension or conflict inherent to my worries. I focus on an emotive use of line, color, and texture as I develop these images. The subject matter and mark making work together to communicate to the viewer a sense of anxiety. As a result, the viewer is left with the same uneasiness that I experience through my worrying.

Charissa Schulze

I begin with collage, it is my favorite way to sketch. To have an idea develop simultaneously in life and mind is thrilling. Meaning is the bridge between words and pictures; they each impart the one on the other. The relationship is temporal and laden with circumstance and contingency. Meaning is both created and emergent, implicit and serendipitous. It is sought after and expounded, yet inherently limited, and manipulated, by the language and context that it creates and is created from. Even the elementary logic and order of an alphabet are undone by a simple switch of vernacular.

Masha Schweitzer

I strongly believe that in most cases, the work should speak for itself. However, of my two prints in this show, the viewer of "Mantle of Memory" may find it helpful to know that I am both the small child and the large figure. The latter figure, set against a background of war ruined cityscape, is sheltering in its protective cloak, the memory of family members murdered during the second world war. In using the sheltering image I bow to the great Piero della Francesca. "Mykonos" is my portrait of the primitive, organic looking Church of Panagia Paraportiani that seems to bear the imprints of its makers hands. As an artist, I am satisfied whenever my work expresses some of the emotion that the concept or image originally stirred in me.

Linda Taylor

The Blind leading the Blind experimental silk aquatint collagraph--lots of fun to create, but a bear to print.

Noriho Uriu

"Conceptual mapping O" As a conceptual map is used as a way to develop one perspective based on those that came before it, I used an intaglio print of a normal circuit board, altered it and added overlapping layers. The image evokes a developed urban space, featuring overlapping ripples of social communication and interactions.

Derek Weisberg

I create works of art that are emotional and psychological self-portraits. Through my work I aim to make sense of my life, my experiences, and the times I live. I do not wish to represent like a photo, instead to achieve an innerness. My goal is to create images, which are accessible and allow the viewer to have an experience which can not be easily articulated, but felt. Simultaneously igniting contemplation, reflection and a lasting relationship with the work. I attempt to express basic human qualities, which are universal and timeless. At its core the works reflect humanist ideology; searching for truth and universal morality based on the commonality of the human condition. Through thought, feelings become knowledge. To know ones feelings is to know ones self. especially through experiencing feelings, which are uncomfortable and unfamiliar: pain melancholy, etc. When my mother passed away I began to include these feelings as well as themes of death, afterlife, spirituality and the metaphysical into my work. While still philosophically closer to a secular point of view, for my mother's sake, I want to believe in an afterlife. In traditional Jewish thought, The voyage of the soul is dependent upon the actions of the ones who are living. in my case the actions are carried out through making my art. Making this work became a ritual to continue the existence of my mother or at least a spiritual existence. The actions are meant to bless, help, and accompany the deceased on its journey. To experience death is to experience the most unique situation in life; it is simultaneously completely familiar and alien, definitive and confusing, guaranteed and mysterious. This work Is a combination of all those things and has been a way to help me navigate through and reconcile with the loss of my mother.

Cathy Weiss

My process is one that begins with a concept, a thought, words that have moved me. I then read, draw, write, carve, print, build and layer my images to convey meaning about strength, love, and internal: psychological and spiritual interstice. I'm also very interested in the symbolism associated with things such as trees and light and how it shares a commonality across cultures.

David Williams

As we go through our everyday routines various images come and go in our heads. We see people, objects, and places that draw our attention, either because of color, texture, or line; they stay in our mind and imagination. In my work I try to explore these ideas, these images that are scattered in my mind and bring them together as in a dream. Many of my images are of people I have seen in old books or in collections of old photographs of my family. The figures interest me and I place them in worlds that are both real and imaginary. Through the use of texture, light, and dark I try to create a mood, a feeling that these people bring to me. Like most artists my work is an extension of myself, both light and dark.





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