I've moved and I don't have any of my supplies except some markers and a little sketchbook. No excuses! (I'm an awful artist right now.) I have been working on some small sketches, though. I'm going home for tofu-turkey day week and so I plan to grab what I can from my storage unit a.k.a. my old bedroom at papa's. This apartment is very small so I have plans to work on drawings and new collages. Someday when I meet somebody with a scanner I will post images.
C-ya.
20 November 2011
11 September 2011
hmmm
untitled, 2011
hand colored etching on Rives BFK - copic marker, ink.
i have a million of these artist proofs on which i can color how ever i may please.
28 May 2011
hiatus
After about a month long (too long) hiatus I have started working again. First I had to fix the easel that my landlords/amazing artists Mike Neary and Amy Maclennan gave to me. I replaced the hinges, nuts, bolts, key screws, and even fixed the crank (sort of). The crank didn't work before, and actually doesn't work incedibly well now, however, it raises up and down with a little elbow grease. Now I'm back in business and working on this painting.
29 March 2011
17 March 2011
more colored etchings
I realize now that the scanned version doesn't say "A/P".
Doesn't say that on this scanned version either.
I think the coloring needs to be simpler.
23 February 2011
in progresssss
the beginnings of the (reductive) linoleum block before being registered with its digital counterpart yesterday.
i'm pretty gosh dang pumped up about it.
17 February 2011
hand-coloring prints all the live long day
MN a/p on Rives BFK
etching
4.5" in x 9" in
untitled a/p on cream Rives BFK
etching
4.5" x 4.5"
12 February 2011
so it begins...
hooray chester burton! today he:
- extended his offer (of cutting blocks & allowing me to use the digital printer in the cage) so that i can continue printmaking,
- actually cut my (2) linoleum blocks to their proper size,
- informed me that i can use the relief ink in the intaglio/relief studio since i'm broke.
alright! hooray!
i have already prepared an image.
09 February 2011
that first one
no title, June 2010
acrylic on cut paper
41" x 62" in
This one is totally awkward to photograph and I am not entirely sure why.
Looks good in my hallway though :)
28 January 2011
22 January 2011
18 January 2011
a drawing a day keeps the doctor away
you'd think my lazy butt would be better at drawing cups by now haha.
05 January 2011
some prints
MN
etching
4.5" x 9" in
2010
--the line on these etchings stands up off the page like thread.
Rebecca
reductive linocut
4" x 6.5" in
2010
--my favorite, everyone's favorite. I need to do more of them.
Untitled
etching
4.5" x 4.5" in
2010
--think I need to hand color some of the AP of these.
Near & Far a/p (sold)
drypoint
3" x 3" in
2010
--wiping on this AP isn't as great as the other (the framed one). the edition looks good though :)
some mixed-media (BFA)
no title
acrylic on cut paper
5" feet diameter approximately
2010
no title
acrylic on cut paper
6" x 5" ft
2010
about
The work that I do is a compulsive result of my excitement upon recognizing patterns and relationships within the world around me, particularly the visual patterns that exist in nature.
We are surrounded by fractal patterns. I’m specifically fascinated by the repetition and self-similarity that I find when rummaging through bins of textiles, eating my vegetables at dinner, or when noticing anonymous piles of trash. In general, I think that we naturally seek order and understanding. We search for patterns around us and we associate things/ideas to each other—doing so organizes what initially seems like chaos. Finding some interconnectedness within seemingly unrelated details helps many of us feel content with our existence, and for some, may fuel an intense sense of wonder.
Geology has always interested me. I use rock thin sections as a point of departure because I think they’re some of the most visually interesting things I’ve ever seen. Finding these images in a book for the first time was an epiphany for me—noticing that at any given distance I could find landscapes repeating and that these landscapes are essentially composed of the same elements. Examining these images and reading a little about optical mineralogy, I found that I admire certain anisotropic minerals in cross polarized light for their intense and interesting color relationships. Maintaining a sense of those relationships within my work is important to me.
The idea to hand color and cut paper came from seeing Henri Matisse’s large les gouaches découpés (paper cutouts). Creating cut-paper compositions inspired by thin sections seems like a fitting technique⎯consolidating painted pieces of paper to make a greater image reminds me of how minerals make up a rock; whereas extreme pressure, heat and/or water is required for that, all I have to use for this is patience, an x-acto, and archival tape.
2010
We are surrounded by fractal patterns. I’m specifically fascinated by the repetition and self-similarity that I find when rummaging through bins of textiles, eating my vegetables at dinner, or when noticing anonymous piles of trash. In general, I think that we naturally seek order and understanding. We search for patterns around us and we associate things/ideas to each other—doing so organizes what initially seems like chaos. Finding some interconnectedness within seemingly unrelated details helps many of us feel content with our existence, and for some, may fuel an intense sense of wonder.
Geology has always interested me. I use rock thin sections as a point of departure because I think they’re some of the most visually interesting things I’ve ever seen. Finding these images in a book for the first time was an epiphany for me—noticing that at any given distance I could find landscapes repeating and that these landscapes are essentially composed of the same elements. Examining these images and reading a little about optical mineralogy, I found that I admire certain anisotropic minerals in cross polarized light for their intense and interesting color relationships. Maintaining a sense of those relationships within my work is important to me.
The idea to hand color and cut paper came from seeing Henri Matisse’s large les gouaches découpés (paper cutouts). Creating cut-paper compositions inspired by thin sections seems like a fitting technique⎯consolidating painted pieces of paper to make a greater image reminds me of how minerals make up a rock; whereas extreme pressure, heat and/or water is required for that, all I have to use for this is patience, an x-acto, and archival tape.
2010
some people i know (BFA)
uncle rog and aunt tam bought a print. thanks :)
granny and dad
lol. mom and grandma.
some paintings (BFA exhibit)
Like Magnets (sold)
oil on maple
12" in diameter
2009
Unfamiliar (sold)
oil on maple
12" in diameter
2009
Southern (sold)
oil on maple
12" in diameter
2009
From a Ring-Finger (sold)
oil on maple
12" in diameter
2009
Muscovite/Biotite
oil on canvas
30" x 30" in
2010
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