Category: pochoir technique

Studio Clearance Sale

The Great War God Huitzilopochtli, 2014, 8 by 10"
The Great War God Huitzilopochtli, 2014, 8 by 10″

So its that time of year when one feels compelled to clear out the old and make way for the new. I hope in 2017 to begin afresh , adding printmaking to my studio practice. And while going through the stacks of prints in my archives I decided to try to move them along to happy homes. The following relief prints including handsome Huitzilopochtli are for the most part from 2014-2016. Ordinarily a one-block print (single color run) would sell for $100.00; this sale the same prints are 75.00 each, two for 100.00 (shipping and handling 17.00).

Thus far these are the prints available at that price.  I give plate size,not actual print size. Plate size indicates the block I carve into;  generally the following prints look handsome matted and framed at 12 by 15″. 

 If interested feel free to contact me directly at: neobaroque@mac.com

 

Death & the Maiden 2014
Death & the Maiden
2014

Death & the Maiden, 2014, plate size 8 by 10″, series of 6, 5 available.

The Virgin of Guadalupe 2014
The Virgin of Guadalupe
2014

The Virgin of Guadalupe, 2014, plate size 8 by 10″, series of 4, 2 left.

Agnus Dei 2014
Agnus Dei
2014

Agnus Dei, 2014, plate size 8 by 10″, series of 6, 5 available.

The Eternal Cycle 2014
The Eternal Cycle
2014

The Eternal Cycle, 2014, plate size 6 by 9″, series of 6, 2 available .

The Great War God Huitzilopochtli, 2014, 8 by 10"
The Great War God Huitzilopochtli, 2014, 8 by 10″

 

The Great War God Huitzilopochtli, 2014, plate size 8 by 10″, 3 proofs on mulberry paper available.

Tlaloc 2014
Tlaloc
2014

 

 

Tlaloc, 2014, plate size 8 by 10″, series of 8, 4 available.

The Siren's Call 2016
The Siren’s Call
2016

The Siren’s Call, 2016, plate size 8 by 10″, series of 7, 5 available (note, hand colored, slight variations).

The Green Knight

Last week I ran a proof for a new print inspired by the Sir Gawain and Green Knight narrative. Initially the print was going to be a multi plate affair, a technique I thought I had mastered somewhat. But after multiple runs I became increasingly dissatisfied with the results ;  The Green Knight proofs were consistent only in their inconsistency: the colors were not aligning , the ink was spotty and “snow-flaked”. I strive to achieve consistency when I run a series, something that was drilled into by my instructor Jim. So I decided to turn to a technique that Jim was less than enthusiastic about, pochoir, or more simply , stenciling . Jim felt it not quite printmaking in some way, and I can understand his resistance. Yet, with this technique I was able to accomplish what I was searching for , color, color that was within the defining lines of the image. A certain degree of wonkiness in printmaking can be desirable but what I was producing just looked like I didn’t know what the hell I was doing. This is the final artist’s proof of The Green Knight. He seems particularly suited to the winter holidays.

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The Green Knight

2015

pochoir-relief print on paper, artist’s proof

image size 8 by10″

The misalignment that frustrated me is apparent in this image.

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I had far preferred the simple black and white print, yet he is the Green knight.

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The  pochoir process is satisfyingly craft oriented, I was able to utilize techniques and tools from my decorative painting career.

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To now have a desk full of proofs is satisfying, I will run a series in the new year, brightening the green and using the darker buff. I am also going to utilize the pochoir technique when I run my recent print The Proposition. I hope to produce prints that are more vibrant AND aligned in the future . At the same time cutting back on production headaches as cutting stencils is far easier than cutting lino. My only new year resolution is to actually make and hopefully sell some prints, pochoir-relief prints may be the answer. Until next time, be well.

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In Nomine Patris: Reclaiming the Old Gods

This triptych is part of my ongoing exploration of the clash between two  cultures, that of the Mesoamerican indigenous people and the conquering Spaniard Roman Catholics.  Time and again I am struck by the similarities between the two seemingly incompatible peoples. Their religious traditions revolving around sin, the fall of Man, redemption through blood sacrifice and resurrection bringing forth new life.

I wanted to explore these similarities, and differences through archetypal devices namely triptych construction, ecclesiastic, architectonic form, prayer cards and votive candles.  Working with traditions brought to (forced upon) native cultures I wanted to examine the notion of the old gods claiming the forms for themselves.  As if the priests of Tenochtitlan had not been slaughtered by the Spaniards but had in fact survived and adapted  Western  cultural norms for their own use. The following print In Nomine Patris might have been such a result of that cultural synthesis.

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On  the left,  one of the Hero Twins, Hunahpu; on the right his brother Xbalanque;  in the center their father, the sacrificed Maize God, Hun Hunahpu.

Through his sacrifice, his redemption by the Hero Twins and his resurrection, maize is brought to Man.

 In Nomine Patris

18 by 27 inches

relief print on paper

My printmaking class is winding down, I’ve made a  drawerful of plates, many prints; even a few I  like.   I had hoped to close the semester with a more elaborate version of this triptych. Ultimately this print will be colored using the pochoir technique and enhanced by applied additions. But for now, as the semester ends, it will be chastely  black and white. 

Th following print, The Gates of Xibalba can stand on its own, but it is also designed to interact with the triptych as actual sacristy gates.

IMG_3878The Gates of Xibalba

relief print on paper

According to tradition the lords of the Underworld are devious, randy and stupid; I tried to capture that spirit.

The following is an artist’s proof of the assemblage of the triptych and the gates. I will need to figure logistics, shall it be flat, shall it be cut out like a toy theatre, it should certainly be colored. All must wait until I have access to a press next semester.

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The alignment of the sacristy doors to the sacrificed  Maize God was serendipitous; or the plan of the old gods.

In addition to the triptych I planned prayer cards, familiar to Roman Catholics world wide. My first is of the Maize God, Hun Hunahpu, sadly I misspelled his tongue-twisting name. As he is the god of maize, life and fecundity, once again an erect ear of corn seemed naughtily appropriate.

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Blesses Hun Hunuhpu (sic)

relief print on paper

Going from prayer card to votive candle seemed a natural evolution. Here in southern California votive candles emblazoned with Roman Catholic saints are ubiquitous , found not only in bodegas but in mainstream grocery stores, even Target. I thought it was time for the Maize God to have his  own moment to shine. More gods/goddesses to come.

IMG_3889I haven’t much business sense but I imagine this would sell.

Speaking of which I sold (fingers crossed)my first piece of work, a print, since “retiring”  from decorative painting.  I would still make work whether it sold or not, but having a buyer is confirmation indeed, I’m pleased and grateful.

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The votive candle in place amidst his Catholic friends.

With that good news I close, take care and be well,

LG

Evolution of an Eruption (& two randy blue fauns)

IMG_3873 Eruption

2013

relief print on paper with pochoir color addition

One of my goals in printmaking has been to create companions to my paintings, I have tried this before and it was an unfortunate failure. My brushwork didn’t seem to translate to relief prints; intaglio might be a better technique for this purpose.

But this semester I am focusing upon relief printing.  A current obsession happens to be  two fauns from a nearly completed painting The Temptation of St. Anthony in the Desert. The fauns play a supporting role but they charm me for personal reasons, I can certainly relate to the older faun, confused but still obviously vital, he just needs a bit of guidance.

I was determined to translate these two fauns into a relief print, but the process has been complicated. I first tried conventional black ink, handsome enough but did not capture the tension I was after.

IMG_3869 Eruption

 artist’s proof, relief print

My instructor suggested what he calls a rainbow roll- a two/three color roll of ink. I was not at all happy with this, might very well have to do with my aversion of rainbow rolls in general.  Too Haight Ashbury in my snotty opinion.

IMG_3852 Eruption

artist’s proof, “rainbow roll” relief print

I was after spots of color, that attracted the eye to the characters and to the situation. I did not want a hand colored, water color feeling; I wanted opaque blocks of color.  Clive Hicks-Jenkins suggested the stenciling method pochoir.  Initially I hesitated, I explained to Clive how orthodox my instructor can be, stenciling would not suffice.

Clive assured me that pochoir was an established and well respected practice some of the  most revered artist have used the technique to great effect.  Risking my instructors disapproval I gave it a shot.

I am very happy I did, thank you Clive!

As I was working with two colors, I made two stencils, first orangish-yellow, applying opaque acrylic paint rather lavishly. I  like how I was able to manipulate the colors, something that isn’t very easy to do with a roller.  Not a “pure’ printmaking technique, but ultimately visually satisfying.

IMG_3870I tackled the second color with a second stencil cut from conventional stencil paper. I t handles so nicely and reminded me of my decorative painting days.  One never knows how old tricks can be applied in a new fashion.

IMG_3872The final step was to apply a black print over the treated paper; using a carefully aligned template made the process a breeze.

I am happy to say my instructor was delighted, he noted registration  had gone awry- something I sincerely enjoy in this print- but otherwise he was quite pleased. He can take comfort in the fact that our  class “Bible”, Fritz Eichenberg’s monumental The Art of the Print, Masterpieces, History, Techniques (Abrams), seems to fully embrace the technique, echoing Clive’s endorsement. So I now have another technique  quasi mastered, aside from multiple color blocks ( and the odious technique of reduction relief).

Happy Clive spoke up. The final print though visibly its own statement is indeed in dialogue with its source, the randy little blue fauns from my St. Anthony.

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 detail of blue fauns, The Temptation of St.Anthony in the Desert,unfinished

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Semester ends soon and I will at last be able to return to painting. but for now I have several unfinished printing projects which seem promising.  I will post my progress in class as I finish up the projects.

Until that time, take care and much gratitude to Clive, our modern master,

LG