#printcampsanctuary

[printmakersopenforum]

Very happy to host #PrintCamp2019 participant JO YETTER

http://printmakersopenforum.org/printcamp_all_print_media_workshop

JO YETTER

WEBSITE:

www.joannayetter.format.com

ON JO's WORK:

Jo’s practice unpacks identity in relation to dualities of comfort and pain, as well as, growth and loss.  Presenting growth narratives as an alternative for recovery narratives, Jo is able to reconstruct recovery as non-linear.  Memories and the innate desire to document our lives are explored as a means of understanding one’s identity.  Jo engages in a curatorial approach by organizing the space and their handmade books to create a narrative that the viewers will insert themselves.  The poetry and furniture is utilized to guide the viewer mentally and physically, creating a space of solitude and reflection.  Jo’s practice is interdisciplinary with a focus on language to ground and generate their work. 

 Jo explores the fluctuation, degradation and growth of oneself, using the work as a means to preserve what cannot be preserved.  Engaging with the passage of time, imagery of transitional objects become referents of time and speak about the cyclical process of growth from loss and loss from growth.  ‘Transitional objects’, a term coined by Donald Winnicott, are objects that provide comfort and security as they facilitate understanding love and complex emotions.  Baby blankets, driftwood and aloe plants are examples of such, used throughout Jo’s practice to visually depict journey.  

 Language is used as a tool to disrupt the ways we consume text and to clear space for pause/reflection.  Jo carefully selects words focusing on balancing exactness and ambiguity to permit the viewer agency in the narrative. The fragmented authorship and resulting poetry reflects fluctuating and deteriorating memories, as well as, the relationship with one’s identity.

  WHAT JO WILL DO AT PRINTCAMP:

For the duration of the PrintCampp I will be exploring and expanding my understanding of the book as a space for the viewer to enter.  Previously, my practice has included handmade books in intimate sizes calling on the viewer to participate through touch.  At PrintCamp I propose to print a series of large format accordion fold books that span 5-7 feet in length.  I am interested in the ways in which engagement with the books and poetry changes based on physical interaction.  I am excited about the exploratory quality of being able to walk around the book, consume it all at once or consume it in tandem with another person.  The work will confront and engage participants that were once hesitant to touch as the work takes on a more sculpturesque role achieved by the increase in scale.  Through this performance of viewer as participant, a sense of immersion will be created within the installation asking them to consider themselves in its meaning.

SKILLSHARE: A quick bind your own sketchbook tutorial. Using the pamphlet stitch a two signature book gets directly bound to the softcover as a cost efficient and personalized way to make a sketchbook.

  RESUME

Education

2016 BFA, Major in Printmaking, Ontario College of Art and Design, Toronto ON

2014    University of the Arts in Philadelphia, Mobility Student, studied Printmaking, Book Arts and Papermaking

 Two Person Exhibits

2015 Obsession, Project: Spaces, Toronto, ON

Galleria 814, Toronto, ON

2014 Command Print, Gallery 633, Philadelphia, PA

 Group Exhibitions 

2019  I Blink My Eyes To Keep The Time, Online and Catalogue exhibition feature, Toronto, ON

2018  9th Douro Printmaking Biennial, Porto, Portugal

Flashback/ Fastforward, Living Arts Centre Gallery, Mississauga, ON

2017  Bi-Arts Festival Exhibition, D-Beatstro, Toronto, ON

2016 GradEx 101, OCAD U, Toronto, ON

Post - Print, Beaver Hall, Toronto, ON

Home*, BAND Gallery, Toronto, ON 

2015  Delta: The Difference, Project Gallery, Toronto, ON

2014 Ice Breakers, Gallery 633, Philadelphia, PA 

2014 Retrospective Show, The Great Hall at OCAD U, Toronto, ON

The Salon Show, Project Gallery, Toronto, ON

Print Show, John M. Parrot Gallery, Belleville, ON  

2013  Brazen: Sexual Stigma Overcome, Project Gallery, Toronto ON

Faith Sector, UofT Koffler House, Toronto ON

Target Practice, OCAD U Transit Space, Toronto, ON

2011 OCAD U Emerging Artist Student Showcase, Great Hall, Toronto, ON

Residencies/ Fellowships

2017-18    Wood Studio Fellowship, The Living Arts Centre, Mississauga, ON

2017        Gallery A/ Art Lab, Studio Residency, Robert McLaughlin Gallery, Oshawa, ON

Publications/ Print Exchanges

2019        I Blink My Eyes To Keep The Time, Volume 2, 2019

2018        9th Douro Printmaking Biennial Catalogue, Porto 

2016                Migration, Acta Victoriana, April 20, 2016, 140:2 

2014-16    Print Exchange – Printmaking department, OCAD University

2014        Print Exchange – Printmaking department, University of the Arts

2014    This Much, co-editor/ content creator, Toronto, OCAD U Publications. Edition 150

 Awards/ Grants

2016        Nora E Vaughan Award – OCAD University

2016        BMO 1st Art! Competition Nominee 

2016        Sharon Merkur Memorial Award – OCAD University 

2016        OCAD U Printmaking Medal Winner 2015-16

2014         OCAD University’s Emerging Artists and Designers Award

2011         Earla Alexander Scholarship – OCAD University

 Presentations/ Workshops/ Teaching

Present    Instructor for Adult and Youth fine art courses, Living Arts Centre, ON    

Instructor for art and printmaking workshops, Toronto District School Board          

2017        Book Binding Workshop, RMG Fridays, The Robert McLaughlin Gallery, Oshawa

        Artist Talk, The Robert McLaughlin Gallery, Oshawa

2016                  Instructor, The Harbourfront Centre, TO, ON    

2014    Organizer and creator, This Much Professional: Art and Publications Conference, OCAD University, Toronto, ON

[printmakersopenforum]

#PrintCamp2019 participant:

EMILY ORZECH

@eorzech

WEBSITE:

emilyorzech.com

ON HER WORK:

I am currently working on a series, "Family History", which catalyzed by my late partner’s illness and my experience navigating the healthcare system. I am interested in the liminal spaces we inhabit in the process of illness and caregiving. This liminal space combines at once the urgency of time passing and an intense focus on the present, on the daily processes of living. Memory of this time is mutable, fabricated out of visual fragments and habitual gestures, like a muscle memory that lingers long after the events have passed. In Turn I re-enacted the motions of turning someone over using a blanket. Since my memory is of the physical motion rather than of a particular moment, I photographed myself re-performing these actions and then transformed these gestures into screenprints. In other prints, such as Bath, space itself is pieced together out of memory and a few photographs. Some colors and textures are heightened, some sections are elided to fit the room within the space of the panel. I translate these photographs into screenprints and transfer them onto panels with upwards of thirty layers of ink. Because of the hardness of the ink I am able to selectively sand the print, revealing the layers below. In this way I am able to work using both additive and subtractive methods, which is unusual for the medium. The layering and sanding away of these images collapses the passage of time and mimics the simultaneous clarity and intangibility of memories. There is slippage between the layers and within the memory itself. Memories become visual objects in the present moment transformed by in the very process of creation. 

 While the initial body of work involves unique layered and sanded screenprints on panels, I am interested in developing a way to create similar editioned work at a much larger scale and making use of the 72-inch press bed and our Epson 9900 printer at the college where I teach. I have realized one of the components I am most interested in with this body of work is the interplay between the painterly marks created by the sanding and the photographic halftone, suggesting a point of departure for new prints that contain these two qualities but expand in terms of the type of media being used.

ON WHAT SHE WILL BE DOING AT PRINTCAMP:

While at Print Camp my goal would be to explore how I could combine a second form of printmaking (etching or lithography) perhaps through chine colle, as a way to expand this language of painterly mark making in conjunction with the half tone of the screenprint in an editioned form. I am particularly drawn to the experimental and collaborative nature of print camp and the opportunity to share ideas with other printmakers as a way to push the boundaries of my work in terms of both scale and the combination of print media. I would plan to work on permutations of one print - coming in with a set of digital imagery and transparencies which I would use in conjunction with experimentation in one or more other print media. The goal of the workshop would be to return to my studio with new strategies for layering and combining print media which I would then apply to new editioned work. I am particularly interested in the way I can use the tension between the painterly and digital mark as well as between different layers of print media to echo the gaps and inaccuracies of memory.

SKILLSHARE: For my skill share I would demonstrate the process of sanded screenprint which I have been using in my work to create layered, painting like prints. This technique was originally developed by Dennis O'Neil. I have modified the technique to work on panels, which I layer and sand selectively.

RESUME:

Education

 MFA School of Art and Design, U of Michigan, Ann Arbor MI

BA Smith College

2006, Semester Abroad, SIT Yunnan, Kunming, China

 Employment

 2013-Present Assistant Professor of Printmaking, Department of Art, Muhlenberg College    

2011-2013 Lecturer in Printmaking, Photography, and the Honors Program, University of New Mexico

2008 Intern, Red Gate Gallery: 798, Beijing

        Solo Shows

 2019 The Time Being, Oresman Gallery, Smith College

2017 Rush Hour, 2.04 Gallery, St Petersburg Russia

2017 Selected work from the Translated Cities series, Crane Arts and Crane Old School Gallery, Philadelphia PA

2017 Public/Private, the Banana Factory and ArtsQuest, Bethlehem PA

2015 Urban Village, Gatewood Gallery, University of North Carolina Greensboro NC

2015 Outskirts, Martin Art Gallery, Muhlenberg College, Allentown PA

2013 Featured artist, the View on Elm, Greensboro NC

 Juried and Invited Shows

 2018 Okanagan Print Triennial, Kelowna Art Gallery, British Colombia, Canada

2018 Small Talk, Seraphin Gallery, Philadelphia, PA    

 2017 Great Lakes Drawing, Eastern Michigan University School of Art and  Design, Ypsilanti, MI

2016 The Winter Show, GreenHill Center for NC Art, Greensboro, NC

2016 Philadelphia Open Studio Feature Exhibition, Philadelphia City Hall, Philadelphia, PA

2015 Ink! (jurors: Amze Emmons, Assistant Professor, Tyler School of Art, R.L. Tillman, Maryland Institute College of Art, and Jason Urban, the 

University of Texas at Austin) Slipe Gallery, Hartford, CT    

2014 The Floating Library, book, (juror: Sarah Peters, artist), Cedar Lake and Lake Winona, Minneapolis, MN

2012 No Place Like Home, (curated), show and benefit auction for Sawmill Land Trust, Albuquerque, NM

2011 The First Beijing 798 International Print Expo, (curated by faculty at the Central Academy of Fine Arts), Beijing, China

International Contemporary Art Exhibition, (curator: Zheng Xuewu, artist), Daqing Normal University, Daqing, China

2011 Prevailing Impressions, (curator: Liz Chalfin, Director, Zea Mays Printmaking), Zea Mays Printmaking Gallery, Florence, MA

2010 Drawing Discourse: National Juried Drawing Exhibition, (juror: Deborah Rockman, Professor, Kendall College of Art and Design), University of North Carolina, Asheville, NC

2010 28th Annual Print Exhibition, (juror: Endi Poskovic, Professor University of Michigan) Ann Arbor Art Center Gallery, Ann Arbor, MI

 http://printmakersopenforum.org/printcamp_all_print_media_workshop

[printmakersopenforum]

Next featured participant for #PrintCamp2019 is:

IAN COLWELL

ABOUT THEIR WORK:

I was born in the year 1998 in Poughkeepsie, New York. In 2003 my parents separated, which resulted in 14 years of various events of trauma that has inadvertently impacted my identity. This had to lead me to begin to question my self-image at an early age. I didn't quite fit into any group or find anything I excelled at. In order to cope with that trauma, I found that making art was therapeutic and helped boost my self-esteem. As a teenager, I started to feel estranged from my friends and peers, feeling like I could not identify or relate to their experiences but I never could understand why. Feeling isolated from my environment, I was keen on leaving New York. Coming to Portland, Maine, to attend college it was a very liberal climate in terms of politics than what I was used to. I made a crucial connection to my identity during college orientation, learning that there are different pronouns that people can be referred to, such as “they/them/theirs”. Constantly challenging my image before, I felt immediately connected to not conforming to the gender binary. Through the use of Printmaking as a way to educate others and myself, I started to investigate into my gender identity through the use of print, a very fluid and democratic medium used to make multiple images. Being able to take up space, and be outspoken with my work to show that identifying as gender nonconforming is a normal and conventional way of living. By fragmenting and screenprinting images of my own body I act as both Dr. Frankenstein and the so-called “creature” through the use of digital and physical means. I am re-composing images of my own body to claim ownership over my own body as a genderless being.

 WHAT THEY WILL BE DOING AT PRINTCAMP:

At Printcamp I would continue to explore this investigation of self through the use of print and print media. Currently, my work has been constructed through printmaking techniques. At Printcamp I am hoping to strengthen my skills as a printmaker, and hopefully learn some new techniques.

SKILLSHARE: I would like to share my zines concerning gender identity

RESUME:

Exhibitions Ambassador

Institute of Contemporary Art

Portland, ME

 Social Media Coordinator

Maine College of Art and Design

Portland, Maine 

 Teaching Assistant

Lincoln Middle School at MCAD, Portland, ME

 Gallery Assistant

Institute of Contemporary Art

Portland, ME

Gallery Intern

Space Gallery

Portland, ME

http://printmakersopenforum.org/printcamp_all_print_media_workshop

[printmakersopenforum]

PrintCamp2019 Session Two Shop Assistant

ALLISON ROSH

WEBSITE:

www.allisonhrosh.com

ABOUT HER WORK:

The surface of the body acts as a barrier between our internal and external selves exposing the vulnerabilities between mind and body. As fragile and receptive beings, the past builds up and manifests itself through our daily actions and repetitive tendencies. Constant awareness of our physical forms and emotional states are visually impressed upon us. There is a strong desire to control our appearance and physical signs of well-being. The length one will go, to appear well and put together intrigues me. These preconceived expectations of self, become overwhelming, and the focus of our obsessive dwelling. 

The presence of the body is suggested in these pieces, through various processes that reflect healing and destructive patterns. Veiled pieces are mended meticulously by hand, creating another skin. Etched impressions on copper are abstracted and deteriorated. Surfaces are abraded; etched; mended, and covered. These act to highlight the subtle and startling effects of our physical movements, mental states, and overall health.

RESUME

EDUCATION

2016    MFA University of Iowa, Iowa City, IA

Major: Printmaking, Minor: Drawing

2015    MA, University of Iowa, Iowa City, IA

Major: Printmaking, Minor: Drawing

2013    Bachelor of Fine Arts, Bowling Green State University, Bowling Green, OH

    Major: Two Dimensional Studies

TEACHING

Present – 2018    Adjunct Instructor, University of Cincinnati, Cincinnati, OH

Introduction to Lithography, Introduction to Intaglio

2016 Adjunct Instructor, Northern Kentucky University, Highland Heights, KY     

Adjunct Instructor - Art Appreciation for Non-Majors – School Based Scholars Program, Northern Kentucky University, Highland Heights, KY

2016 Teaching Assistant – Instructor of Record, University of Iowa, Iowa City, IA

2015    Teaching Assistant – Instructor of Record, University of Iowa, Iowa City, IA

Introduction to Printmaking: Fall 2015

Print processes covered: Stone Lithography and Silkscreen.

Teaching Assistant - General Education Course - Creativity for a Lifetime

Co-taught by Anita Jung, Clar Baldus, and Matthew Gilcrest, University of Iowa, Iowa City, IA

Teaching Assistant - Summer Intensive Foil Imaging Workshop, University of Iowa, Iowa City, IA 

PROFESSIONAL EXPERIENCE

Present - 2016    Social Media Coordinator, Mid America Print Council (MAPC)

2016 Curator for the Virginia A. Myers Memorial Exhibition, Levitt Gallery, Iowa City, IA

2015 Intern at the University of Iowa Museum of Natural History, University of Iowa, Iowa City, IA

Iowa Print Group Archive Community Outreach - University of Iowa Mobile Museum, Iowa City, IA

2014-2015    Co-founder of Iowa Print Group, University of Iowa, Iowa City, IA

Mud Stencil Workshop, Creative Time Summit, Iowa City, IA

Curator of Friends Under Pressure, Printmaking Department Exchange and exhibition, University of Iowa, Iowa City, IA

Printmaking Studio Monitor, University of Iowa, Iowa City, IA

2013  Relief Demonstration, University of Iowa History of Print Class, Iowa City, IA

Iowa City Press Co-op, Iowa City, IA

2015    Pronto Plate Lithography Workshop, Zenzic Press, Iowa City, IA

2014    Monotype and Watercolor Monoprint Workshop, Zenzic Press, Iowa City, IA

EXHIBITIONS

Solo Exhibitions

2016        Embodied Response, Levitt Gallery, Art Building West, Iowa City, IA

Reveal /Conceal, Medical Museum, University of Iowa Hospital and Clinics, Iowa City, IA

2015   From the Outside, In, Kendall Gallery, Iowa Memorial Union, Iowa City, IA      

Emergence, Printmaking Staging Space, Iowa City, IA

JURIED AND GROUP EXHIBITIONS

2019 /just to be alive/1628 ltd Cincinnati, OH     

2018  Women, Memory, and Psychological Scapes Portfolio, Travelling exhibition

 IMPACT 10, Universidad de Cantibria, Santander, Spain

 Grenfell Art Gallery, Corner Brook, Newfoundland

Unframed, Tiger Lily Press Members show, Covington, KY

California College of the Arts, Blattner Studio Gallery, Oakland, CA

Southern Graphics Council International, Las Vegas, NV

Bodies Under Pressure, Kimura Gallery, University of Alaska Anchorage, Anchorage, AK

9th International Printmaking Biennale Douro, Alijo, Portugal

2017        The Contemporary Print, 02 Gallery/PrintAustin, Austin, TX

Global Print 3, Coa Museum, Alijo, Portugal

Star-Crossed Lovers, Morissey Gallery, St. Ambrose University, Davenport, IA

25th Parkside National Small Print Exhibition, UW-Parkside Gallery, Kenosha, WI

FE17: Full and Part-Time Visual Arts Faculty Exhibition, Highland Heights, KY 

2016        Of Rules and Rebellion, Schneider Hall, University of Louisville, Louisville, KY

Awkward Portal, Public Space One, Iowa City, IA

BIBLIOGRAPHY

2016        “Changing Light: A New Visual Language”, Virginia A.Myers, Pg. 99-100

“In the Foil of Life”, daily-iowan.com, August

“The Daily Palette”, dailypalette.uiowa.edu, February and May

2015        “The Magnolia Review”, Issue 2, Pg. 62, July

[printmakersopenforum]

Next up in alphabetical order - #PrintCamp2019 participant NICOLE GEARY!

WEBSITE: www.nicolegeary.com

ON HER WORK:

I believe my work is in a metamorphic state, much like the rocks I adore studying and collecting. I am transitioning from hiding myself and my feelings in landscape to exposing and eroding that format to show the form of my body that has been hiding inside. I’ve spent ages building a protective barrier to shield myself from feeling the raw and haunting pains that the world can bring onto the body, but this year I’ve learned to let the rockfaces crack, to erode the surface, and to yield to weathering and aging and breakage. I feel I am undergoing the metamorphosis. I plan to do more emotive drawing and printmaking that will reference the body, marrying the ideas of rocks and mountains as my surrogates for myself. My work needs to evolve as I feel I am.

WHAT SHE WILL BE DOING AT PRINTCAMP:

I would like to learn some more non-toxic methods or habits if possible. I work in a low toxicity studio at Southwest School of Art, but for setting up my own home studio I wish to find the best practices and materials to continue my work.

SKILL SHARE:

My Skill Share will be about a topic I call Faux-to Gravure. In graduate school I learned how to do photogravure and loved everything about it (including the process) but recently I was exposed to a different way to add digital elements to prepared copper plates using Pure Etch film and high-quality transparencies for inkjet printers. The process relies on creating a bitmap to replicate a dot pattern that will hold the greys and blacks in your plate like an aquatint but recreates a very accurate photo image. I have a prepared handout already that I have shared with several colleagues and I can put together a powerpoint presentation on the step by step process.

RESUME:

MFA U of S Dakota: Vermillion Printmaking

BFA U of Florida: Gainesville

SOLO / 2-PERSON

2018 In the Dirt, Osage Arts, Osage, MO

Sticks and Stones, Parchman Stremmel Gallery, San Antonio, TX

2017 Tracing the Former World, Desert Light Gallery, Mojave National Preserve, CA

At An Angle, Studio 111, San Antonio, TX

2016 Omissions, Providence Gallery, San Antonio, TX

[printmakersopenforum]

Excited to share information about participants for PrintCamp 2019 Session One (June 1 - 9) at Printmakers Open Forum

In alphabetical order by last name...First up

CLAUDIA FIEO

WEBSITE:

https://www.claudiafieo.com/

ON HER WORK:

The persistent touchstones in my work have always been nature and natural forms; my artistic work lives in the crevices between recognizing the devastation our species has wrought and seeking to reconcile humankind with the earth from which we've sprung. Given the changing climate, I feel an even more urgent need to underscore the cultural and spiritual significance of Nature in our lives.

I also would greatly appreciate the camaraderie and conversation among printmakers, as I am eager to learn new ways of doing things that might better my artistic practice. I look forward to responding to new landscapes and sources of inspiration within the natural world, I would like to devote my time at Print Camp to develop printed backgrounds on Asian papers, to provide some grounding, and aspects of continuity in my artistic vision within a new body of work, which I hope to continue developing over the course of my sabbatical time frame.

The printmaking studio is where I can revel in the unexpected, in the interplay of marks and motifs, strata of information printed over time and in different locations, attempting to give fullest expression to my ideas as I reach for those tantalizing, ethereal glimpses of universal truths.

WHAT THEY WILL BE DOING AT PRINTCAMP2019:

I would like to explore a combination of techniques, including non-etch intaglio techniques, monotype, relief and pochoir on Asian papers, that would be compatible with over-printing strata of information for future collaged prints. If there were time and space, I would greatly enjoy learning more about how to incorporate screen printing into my work, would be compatible with over-printing strata of information for future collaged prints.

I am well-versed in several techniques, but I need more experimentation using Asian papers, registration methods for layering different media. I would also appreciate advice on best practices for streamlining materials to accommodate printmaking while traveling.

SKILLSHARE: I could demonstrate how to employ stencils (either laser-cut, vinyl-cut, or hand-cut to create a collagraph plate with “screenprinted” carborundum gel or how to construct silk organza collagraph plates in addition to found material collagraph plates; how to develop a series of prints using pochoir monoprinting techniques. I could also show a PowerPoint presentation of how I developed a cohesive body of work from a series of related collagraph plates using four printed colors on pre-stained papers.

EDUCATION

MFA Printmaking, Il Bisonte International School of Advanced Printmaking, Graduate School of Art, Florence, IT

MA Printmaking, Rosary College, Graduate School of Art at Villa Schifanoia, Florence

BFA Graphic Design Carnegie-Mellon U

SELECTED SOLO AND GROUP EXHIBITIONS 2019 Crossings and Transpositions, The University City Art Museum of the Guangzhou Fine Arts Academy,

Guangzhou, China ( April 2019)

Digital Exhibition: Blue Wave, Zea Mays Printmaking, curated by Lynn Peterfreund

2018 On Paper/Under Glass, Contemporary Prints from the Permanent Collection, Slater Memorial Museum, Norwich, CT

2017 Vision/Revision, Center for Contemporary Printmaking, Norwalk, CT

The Unity of Opposites, Institute of Contemporary Art, Maine College of Art, Portland, ME

2016 The Unity of Opposites, A.P.E Gallery, North Hampton, MA

Pressing On, University of Rhode Island, Main Art Gallery, Wakefield, RI

2015 Unique Impressions V, Zullo Gallery Center for the Arts, Medfield, MA

[printmakersopenforum]

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