David Lynch

During my first semester at CCA some of my viscosity work was compared to some prints David Lynch made. What an honor..I thought. I primarily know him as a great film maker, and I knew that he had done some art, but I didn't realize at that point that he had done some printmaking. It was a great suprise to me. There's a great little story that Prof. J tells us about a student who tried to chine cole an actual mouse onto paper (don't worry folks...I'm pretty sure it's a LIE), but rumor has it that David Lynch actually did that. I'm afraid my naive little self does not believe this rumor, but if anyone can clarify things better for me that would be great.

He worked for a while at Madison's Tandem Press:
Lynch describes his painting as a process of action and reaction. During his three visits David Lynch created 118 different images-monotypes along with editioned prints and photogravures. The works are mostly monochromatic. They have a deliberately primitive and crude quality, which results in works of great beauty. He includes words in many of the images, which are intended to start the viewer thinking about the works, but he also sees the words as forms, shapes, and textures.

In a talk that he gave in 1997, David Lynch described how he felt about the process of printmaking: "It has the same sort of excitement as when you go to the photo shop to get your pictures back. Even though you took them, they never come out exactly the way you see them through the camera. There is always some sort of surprise, and that's the way it is with printmaking. With action and reaction exciting things begin to happen."

DAVID LYNCH

CCA MFA show

Last week I went to my schools MFA show. It was really great to see everybodies final products that they have been working hard on for the last two years. Everybody seemed tired, excited, and well groomed. I can't wait next year for mine!!!

2006 MFA thesis show California College of Art

Chloe Piene

Chloe Piene

So, I've updated some contemporary artists that I like under the link contemporary artists on the side bar. I still haven't finished adding images, but at least the links are there for now. One artist I like is Chloe Pienes. Her work is beautiful. She manages to to pull in dark images with such subtle beauty that it is hard not to stare at her work in awe. This is something that I am working on. My images can be at times dark, so I'm trying to find that balance.

The imprint of the American Chloe Piene’s charcoal drawings is sensitive despite the heavy subject matters. In her works Piene has examined, among other things, sexuality and death. The subject matter is often inspired by primitive rituals or mythologies and the history of art and biblical stories. The nudity of the figures that extends down to the bone, sparely sketched and fragile outlines and transparency of the paper is in juxtaposition to the carnality of the subjects.

$250 discount on "Walking with the Muse"

Linda Goodman is offering a $250 discount on her monoprint workshop in Greece for people coming from my website. All you will need to do is refer to PF50506 when registering by mail or phone. She won't be going to Greece next year, and only needs three more people for this year. Experienced printmakers may use other non-toxic intaglio processes, woodcut,and computers in the pursuit of their own vision with permission of instructor; advanced artists may work independently in painting.

studio 


July 31 - August 15, 2006 , you will have the chance to work in the inspiring surroundings of the Skopelos Foundation of the Arts on the Greek island of Skopelos with noted printmaker Linda Goodman, a veteran leader of workshops in Florence, Italy, and the United States. Immerse yourself in the authentic culture of this island in the Aegean northeast of Athens and let its beauty refresh your creative spirit. Blend concentrated artmaking with relaxing socializing, dining, swimming and walking, while enjoying Skopelos’s charms. There will be group breakfasts, a welcome meal, and closing exhibition and dinner reception with local townspeople.



Monotype, monoprint, and chine collè
This hands-on workshop offers demonstrations in Goodman’s specialties of oil- and water-based monotype, monoprint and chine collè — easily accessible mediums for both beginning and experienced artists — along with concentrated studio work, insightful critiques, personal attention and group camaraderie. Health-conscious approaches are emphasized, with an eye to using a minimum of solvents (such as vegetable oil instead of thinner when possible) ferric chloride and copper etching, or drypoint. Experienced printmakers may use other non-toxic intaglio processes, woodcut,and computers in the pursuit of their own vision with permission of instructor; advanced artists may work independently in painting.

About the Class
•The focus is on monotype, monoprint, chine collé and drypoint or line etching. Direct and expressive, monotype joins the radiant qualities of prints with the spontaneity of painting.Drypoint/line etching fundamentals are included for those wishing to apply these techniques to monoprint. For all participants, realizing your artistic intent through inspired use of materials and process is paramount.
•Single-run monotype emphasizing painterly methods. Painting and drawing on the surface of metal and plastic plates, Goodman demonstrates beginning to advanced techniques for using printmaking inks, crayons, modifiers and rollers with color printing to achieve brilliant colors and crisp printerly effects.
•Chine collé. This collage process of adhering papers while simultaneously printing on them combines beautiful visuals with content.
•Multi-run color monotype and monoprint.We use several plates to attain rich luminous color and may combine monotype with a repeatable matrix of drypoint or line etching to produce one-of-a-kind prints or a series of related images.
•Individual feedback, group critiques, and open work sessionshelp advanced and beginningartists alike explore their creative potential to develop their work.
•Etching facilities available. Experienced print-makers may use other nontoxic etching or relief processes inthe pursuit of their vision with permission of instructor.
•Our workshop concludes with a group exhibition and barbeque with students, professor, directors and guests from the Island community.

Linda Goodman
1450 62nd St.
Emeryville, CA 94608; USA.
Tel: (510) 653-0300 (until May 27, 2006).
After this date e-mail: workshops@artmondo.net
Website: www.artmondo.net

Inks

After getting a comment on my blog from Caligo Inks, I did a little bit of research. This Printmakers material blog has published some interesting information on Caligo Safe Wash Etching Inks and the Aqualine Inks. This blog makes me laugh. Sometimes I forget that there is a human behind our supplies. I like what he has to say about this past years conference in Madison. I think you can only get the Caligo Safe inks from graphic chemical, so I might just give them a try. I'd like to take a bunch of different inks with me to Greece to play around with them. I've also been advised to try Daniel Smith's inks too by many different people.

Waterbased Intaglio Inks

Linda Goodman asked me to assist her in her waterbased monotype class last weekend. I was excited to try out these new inks and compare them to the oil based inks. The oil based inks I used in her oil based class were the Handschy litho-inks . I've had a lot of experience with Handschy since these are the inks that Prof. J prefers to work with. My grad professors frowned on me using these inks, but I still used them anyways. It was good because nobody was advanced enough at CCA to use the color litho inks so I had them all to myself. Anyways, for the waterbased workshop with Linda Goodman, we used Akua-intaglio which is a new brand of Akua that was supposed to be good. At first I couldn't tell much differnce to the oil based inks when I was rolling it out, but when I printed, I could tell right away. The black to me looked like a bad marker running out of ink. Eventhough my black looked richer than the others, it was ugly. Also, the printgods god mad at me because I had a slight ten minute creative block. Usually, I'm able to just dive right in, but the Gods would not allow it. Solvent and oil based inks create the most wonderful washes, but this stuff just smudged. Linda took me into the back and showed me an experiment that she did on Aqua-line
faust inks. The water when mixed with the black created a texture exactly like tusche , so hopefully she will like these inks and use them in Greece while I'm there. The clean up was extremely messy. It took me twice as long to clean these inks off of rollers eventhough it is a safer process. My hands got very messy from using it too...it is just too messy. Out of a scale of five I would give them a four. I have heard that other inks brands are a lot worse.

I don't like these prints, but I'm going to share them with you anyways. Just wasn't feelin' it that day.




Subtractive method.



Additive onto ghost.

Paula Rego

Born in Portugal, Paula Rego's work always has a sense of magical realism; quirky contemporary mythologies pointing to an underlying psychology and sexuality, through a feminine view point. The Fitting is a scene of fairytale romance turned nightmare. Reminiscent of Velasquez' Las Meninas, Paula Rego uses loaded imagery and symbolism to create a surreal mystery for the unravelling.

My new work is heading in this direction. I was happy to find this artist. She uses all different types of printmaking methods to make these installations. Mine will be more figurative, and I plan to incorporate celtic designs as a code for mapping the memories in my life of the different places I have lived. I am interested in how immigrants memories are different to most people because we have two seperate lives. It's kind of like a parallel universe in the way that our lives have been spliced into two, yet we are still connected to both worlds. What I was doing last semester at CCA was creating memory images out of maps that I had found of my past. I was particularily drawn to the London maps. So, I projected the maps onto large sheets of paper and drew narrative out of the patterns of the maps. It looked really cool. Now I am working towards creating my own maps still using the original maps, but turning the pattern into celtic form. The narrative that I am drawing out of the pattern is more interesting and complex.

Nicola Lopez website

Jude Griebel

In Jude Griebel’s paintings and prints, elements of storybook narrative and adult experience are combined to create scenes that have a foothold in both the real and imaginary. Regarding his work, Griebel states: “I am interested in how youths are able to project their imaginations onto domestic and everyday spaces, transforming and doubting the familiar. It is this state of questioning, anxiety and nostalgic wonder that I attempt to translate through my painting.” The costume has become a repetitive theme in his work as a tool of transformation, disappearance and disconnection from reality.

Paintings

Come with me......

Other workshops that Linda has coming up are in Italy and Greece. She asked me if I would like to be her assistant for the Greece Workshop. I was in such shock when she asked me, and I'm praying that it will work out. So, if any of you printfreaks want to hang out with me in Greece for a couple of weeks please come. Her workshops are great. She also said that they visit Athens for a day. Doesn't it just look magical. Special things happen when you get out of your safety zone and explore the WORLD!! We can go out dancing Greek style!!!




Linda Goodman's International Art Workshops 2006, Italy, and Greece Painting Drawing Monotype Monoprint Class Summer June July
Painter/ printmaker Linda Goodman is on the faculty at Mission College, Santa Clara, California and has taught extensively in the U.S. and abroad including the School of the Art Institute of Chicago, Illinois; University of Oregon, Eugene; Whitman College, Walla Walla, WA; San Francisco Art Institute, San Francisco, California; UC Berkeley; Berkeley,CA; University of Minnesota, Split Rock; San Francisco State University and Mills College, Oakland, California among others. She regularly teaches workshops in the United States and abroad. In June 2006, join her for the tenth Art Workshop, "Your Creative Sojourn" in captivating Florence, Italy, with a NEW OPTION of visiting for eight days for an "Artist's Date" focusing on museums, drawing, journaling and/or watercolor monotype, or from one to three weeks to work in monoprint (beginning to advanced levels). All groups should have unparalleled privileges at most major Florence museums allowing repeated entrances. In August, she returns to conduct "Walking with the Muse: Creative Journey in Monoprint" on Skopelos Island, Greece for 15 days on this beautiful island in the Agean sea.
Her work is in the Brooklyn Museum, New York; the Oakland Museum, California; the Library of Congress, Washington D.C. and other public and private collections. She holds a Master of Fine Arts from Mills College, Oakland and a BA in Fine Art from Stanford University, Palo Alto, California