Category: Printmaking

Last Day of Semester…Plus a Sale!

IMG_3904Today was the last day of the semester, last day at the printmaking studio until Autumn.  Bittersweet as I will be better able to focus on painting, but saddened that the immediate thrill of fresh ink on virgin paper will need to be postponed  until next semester. Painting, particularly in oil has many joys, but not immediacy, oil requires patience.  Relief printing seems so direct, so immediate, I love that quality.  

In all this was a great semester, some noisome mockingbirds disrupted class with there incessant chatter, but Jim our instructor guided the class with a firm hand.  I was pretty prolific, 11 prints in all, some in multiple editions with different color ways.  Some were complete duds, but a few I actually like, particularly as I stood back and ACTUALLY looked at them during the critique.  

Sometimes the forest  really is just too thick to make out the trees.

Jim had many encouraging  words for which I am grateful, he is a discerning man, his praise is not given lightly.

 To top off the day I sold Strange Fruit, a two color relief print that I had submitted in the student show.  Very delighted by that.  The young woman who purchased the print really “got” the print, particularly concerning aesthetic sensibilities; again, I’m  very appreciative of that fact.

So today was a good day, will get back to painting soon but right now just savoring having finished  a semester in such fine condition.

The following is the ‘sold’ print, image from the purchaser’s Facebook page.

936236_4491213693053_1825056913_n

Thank you Natalie!

Until next time, take care, LG

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.

IMG_3887

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.

IMG_3890

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.

IMG_3875

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.

IMG_3891

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.

IMG_3880

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

IMG_3873

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

Perversion Therapy, a new relief print

I mentioned earlier that I attended a two day conference last weekend in LA, devoted to Mesoamerican art and culture. Many prominent scholars were at hand, some personal heroes, I was enthralled.

One of the topics that many of the scholars returned to time and again was the issue of culture clash. Dr. Manuel Aguilar-Moreno, Professor of Art History, California State University, Los Angeles, summed up this clash as Culture A crashing into Culture B creating Culture C, a distinct and legitimate aesthetic.

This is a very appealing notion as the colonial period has for some time been dismissed as inferior to the indigenous  creative efforts and I assume to its Spanish roots. I have never felt this prejudice personally, Indian Christian art (Dr. Aguilar-Moreo’s phrase) always seemed terribly vital to me and brought  me great pleasure.

This quick little relief print, dashed off this afternoon is an attempt to capture that clash, the Christian God bringing the Maize God to his knees. It is the first state, done awkwardly with my trusted wooden spoon, I will clean it up a bit and make a proper series of prints when I return to class on Tuesday. But in the spirit of keeping up momentum I decided to post it.

IMG_3846Perversion Therapy

relief print on paper

That’s it for tonight, until next time, take care,

LG

Strange Fruit,II

Just a short post, this is the revised print that I posted on Easter, link, this time with the second color.  I’m hooked, if reduction relief did not  work for me, individual color plates do. A certain obsessive compulsive inclination is satisfied by working each plate meticulously so that the image aligns. This is by no means a perfect print, the alignment is most noticeably askew when looking at the Princess’ upward reaching hand. But now I have a better grasp on the process and feel confident enough to work with more color, quite a relief -lame printmaking pun intended.

strange fruit

Strange Fruit, II

relief print on paper

I am attending a Mesoamerican conference this week in LA, I’m very excited, two days of Meso fun. Starting off with a workshop deciphering  Mayan glyphs, I haven’t great expectations, but if I can recognize just a few glyphs I will be pleased.  The spouse has arranged a vacation in Mexico City for the Day of the Day festival ; I’m eager to check out the museums and the ruins, planning a trip to Teotihuacan as well.

733856_10152636507400315_918826521_n

 

Until next time, take care,

LG

St. Kevin and the Blackbird

Fresh off the Press: St. Kevin and the Blackbird

IMG_3837

St. Kevin and the Blackbird

relief print on paper

12 by 12 inches

I have been intrigued with St. Kevin since having seen Clive Hicks-Jenkins  wonderful depictions of the long suffering saint.

Falling in love with Seamus Heaney’s poem St. Kevin and the Blackbird closed the deal.

I have been doodling this wonderful fellow ever since, what isn’t there to love?,  a pious man yet all too human,  stuck in his cramped hermitage, in conflict (or perhaps not) as to how to proceed in life, which path to take. Happily charity and compassion triumphs over self-interest.

 I was unfamiliar with this saint, perhaps he is an Anglican saint ; I do not  know, but I do know I am smitten.  I imagine a few more images of the fellow will pop now and then.

Until that time, take care and may St. Kevin bless you with patience and grace,

LG

Spring Arising

In the spirit of Easter I cobbled together this relief print .

IMG_3832

Regeneration

relief print, ink on paper

After my last post on Good Friday I went back to the studio with the specific desire to just paint. not to fuss, not to sketch, employing a limited palette, not to overthink; just play with paint and linseed oil.  I also only allowed a specific amount of time, the few hours before I needed to prepare dinner for David. The result is far from stellar, in fact I hesitate to post it at all, but in the spirit of honest exploration I will anyway.

Let’s just call it an experimental daub, awkward, tentative, but an effort to change- that is what spring signifies anyway.

IMG_3833

 Good Friday Daub I

oil on board

Happy Easter,

LG

Post Script: I noodled with this daub a bit more, resisted fussing but I felt it needed more definition. My intention was to accentuate the projectiles coming toward the Son of God.

I’m happier with the painting, I can now let it be. I appreciate the kind words of encouragement I have received concerning this experiment.

IMG_3835

Strange Fruit: a Mayan Alternative to the Passion

I am in my second semester of printmaking and frankly it has been disheartening. The exhilaration of the first few prints, successful or not, has been eclipsed by technical problems, some seemingly insurmountable . I recently finished a labor intensive, time sucking reduction relief print, a technique in which one linoleum plate is used, and each color is ultimately scraped away for the next. Engineering the color seqquence was daunting enough, but I think I was able to resolve that issue; but  by my final press, down to final color, a sepia, the finished result was disastrous .

I was taken aback by my visceral disappointment to the final image, I frankly had to walk away. I still have not have had the will to face the sad pile of wasted paper, ink, time, effort and optimism; spring break ends Sunday, perhaps I will face my demons on Tuesday.

In the mean time I am determined to avoid that sad route, eliminating reduction reliefs with individual plates for each color. This was my initial instinct but the assignment demanded the one plate approach.

The following, the first printing thus far, is the line work. The second plate, most likely red, is still being carved out. I post this unfinished print as it is appropriate to Good Friday, a day of sacrifice and reflection, frankly my favorite holiday of the christian calendar . This image which is one I have explored several times is that moment in which the Maize God,  the savior character from the Popol huh,is discovered by the princess of the Underworld Xquic. This fateful encounter results in a miraculous virgin birth, the severed head of the Miaze god spits into the open hand of the virgin princess (subtle Freudian imagery). Clearly I am fascinated by this twist of our familiar Christian sacrifice & rebirth theme . 

IMG_3830

Strange Fruit

relief print, ink on paper

Some sketches prior to cutting:

IMG_3831Wishing all a happy Easter if so inclined, certainly happy spring Sunday.

Take care,

LG

Saint Antony of the Desert

Today is the feast day of  Saint Antony of the Desert (251-356); according to my Dictionary of Saints, “Antony” is the proper, if not archaic name for the abbot. I am not channeling my latent  New Jersey “guido” tendencies.

He has been a favorite saint of mine since boyhood and I have played upon the theme  of his wilderness exile numerous times, with varying degrees of success. But since leaving L.A. and moving quite literally to the desert I feel a keen kinship to the saint . San Diego, particularly East County where I now live, is a wasteland. It lacks interest in culture, intellectualism or beauty, San Diego of surfing fame is pretty in a vapid sort of way, but for something to sink your creative teeth into it is best to look abroad; or within your own reserves.  

Like the famed abbot, I retreat to  my cell and work, time and again I am stunned at how this”exile’ has been a boon. when I was in L.A. I would dawdle with vanities, little actual painting aside from what I was being paid to do was attempted. This hermitage has become a treasure.

I mentioned earlier I was reading a brief biography of Max Beckman by Reinhard Spieler, Max Beckman, 1884-1950, The Path to Myth (Taschen). I have long admired his beautiful 1936/37 triptych Temptation of Saint Anthony; what I didn’t know was his thoughts behind the subject. According to Spieler, Beckman felt:

“Ultimately Temptation deals with the inner conditions necessary for the creation of art.  Beckman depicts the artist as a modern St. Anthony, exposed to a myriad of temptations; at the same time these temptations are the foundations and mainspring of his art.” (121).

This had me thinking,  for Beckman’s thoughts made clear my own nebulous pondering ; so often I too am tempted by many wonderful inspirations, some “sacred” and some decidedly profane.   How do I go about synthesizing them into work that is authentic to my own desires and not slavish to the source. What I do not want is a mock Baroque or Renaissance pastiche.  I made a list of what has haunted and inspired : classicism, academic realism, Renaissance/Baroque art, porn, saints, narratives and myth making, on and on.  What I hope to do in my next painting is confront these tempters/inspirations head on, in my own version of Anthony in the Desert.

The following are a few sketches that I have been putting together, many more will follow.

IMG_3656

detail of tormenting fauns

IMG_3657

Preliminary sketch, I am most likely going to replace the conventional depiction of the abbot with a self-portrait .

IMG_3653

An earlier sketch, I like elements of this and may very well include them in the final painting …or not.

I was also, just to clear my mind playing upon an image of a  seductress from one of my sketches, translated as a relief print.

It is a very poor initial print, I will play with it some more, make a final print in my upcoming class when I have access to a proper press. But I thought I would include it with this post nonetheless.

IMG_3658

My introduction to the saint was not though religious fervor but through art. Numerous, far gifted artists have played upon this theme. I have in the past made note of it, this link is for a particular  personal favorite; not only because there are numerous pieces of wonderful art but because there is a really wonderful clip by the incredible George Mélliès, his La Tentation de Saint Antoine, 1898. It is not to be missed.

Until next time,

take care, be well,

LG

Minotaur Mania Continues

As 2012 nears to end I am tidying up the studio and finishing up what paintings I can. One such painting is this small oil (20 by20) that follows, The Widow Theseus.

It is a continuation upon a theme, that of the relationship between the monster and the hero, who is the victim, who is the victor.

The Widow Theseus
The Widow Theseus

As I mentioned it is part of theme I  have explored in previous posts (filed under Theseus and the Minotaur) and more recently in my printmaking class. I also dabbled a bit in the unfamiliar medium of pastel (and graphite). The following is the result, The Approach of Theseus, 12 by 18 inches on paper.

IMG_3607

Printmaking has been an enjoyable challenge for me, not unlike clay work. I enjoy the process, have  tended to dislike my results. I have made numerous prints of the Minotaur, few pass muster. The following, though far from perfect is approaching what I am after. Once again it is based upon a very loose sketch and once again I am relatively pleased with the translation.

The Broken Minotaurrelief print on paper
The Broken Minotaur
relief print on paper

This so far is what I have , will most likely continue upon this them throughout the new year.

Until next time,

take care,

LG