From the Studio

thoughts on art and process in action from a contemporary artist

Archive for the ‘printmaking’ Category

Because I can, and Open Studios

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Setting up a test version of “Write Me For Art”. Really, this was the perfect height for setting up on stilts, which is way easier and faster. Sadly I’ll be hanging much higher at the Mint in a few weeks.

Tomorrow I’ll be at Open Studios at SFAI’s graduate center.

There will be the usual nibbles and drinks, but in my case there will be an interactive sound piece “Pulse”, created from the stories of San Franciscans.  What story will your pulse tell?

Also I will be working on a new Participatory piece, so if you choose you can become a part of it!

Graduate Open Studios
Saturday, April 19, 2014 – 12:00pm5:00pm
Third Street Graduate Center
2565 Third Street (between 22nd and 23rd)
San Francisco, CA
We are on the second floor.  Every Orange door is SFAI.  I’m in C7 (C -bay is just right of the lounge, 7 is the back right-hand studio). I find it easiest to take the entrance on 22nd St.
I hope to see you there!
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If you want to see the finished “Write me for Art” you’ll just have to come to the show next month at the Mint.

Written by Mary Corey March

April 19, 2014 at 11:12 am

Spring Shows and Events!

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     April 19th:         Open Studios 12-5PM   2565 Third Street (between 22nd and 23rd), SF, CA
                                   
May 2-4th:             Print Show at Mullowney Printing   933 Treat Street, SF, CA 94110

                                    * Opening on Friday the 2nd.

     May 14th-18th:      PRINCIPAL:  SFAI’s Graduate Thesis Exhibition


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SFAI Graduate Open Studios: http://www.sfai.edu/openstudios

This is your chance to get a peek into the process.

Navigational Tip:   There is an entrance at 22nd street.  Go to the second floor.  Every Orange door on the floor is an SFAI facility. 

I am in Bay C (just to the right of the lounge) in a lovely corner spot in #7 in the back right. 

I will send out more information on the second two events as they approach.  I hope to see you at the Open Studios!  I will have an interactive piece running in the studio as well as a Participatory piece you can contribute to.

Whirlwind of Art NYC: Grid/Weave/Tangle

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Last week I flew out to NYC for some Art saturation.  Museums, Galleries, the Whitney Biennial, a show, studio visits… it was wonderful.  There will be a post about all that, but I thought I’d share the work that really connected to my current exploration of weave and grid and tangle.

I happened to see Jasper John’s “Regrets” series at MOMA and noticed a lot of fabric and weave in his prints!  It was interesting to me that though I knew him as a painter since high school, I’d never really seen any of his print work (one of those some-media-privileged-over-others things?).  He also directly incorporated cloth and weave into his in 0-9 series on display there. Last week I was just working out how I would incorporate the weave into my first copper plate and here was a famous artist doing just that.  Serendipitously later that day I saw another Jasper Johns piece at Matthew Marks Gallery in Chelsea related to the 0-9 prints at MOMA which was done as a bronze sculpture … again with the weave.

The following slide show is made up of the work around NYC, old and new that fed  into the shapes and thoughts around grid/weave/tangle that I’ve been exploring.

 

Written by Mary Corey March

March 29, 2014 at 1:00 am

The Grid and the Weave

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disrupted grid1smIn entering a new media I’ve given myself the focus of concentrating on the abstract forms of the Weave and the Grid in an exploration of the digital and the organic, order and disorder, structure and entropy.  I’m also sticking to plates of a 18″ x 24″ (the size of both the largest acid bath and laser bed.

I’m LOVING this project. It’s very freeing to explore ideas in a purely abstract form.  So far I have 3 laser-cut plates I’m happy with (one etch on acrylic, one grid cut out of acrylic and one block out of MDF).  I’ve also hand-carved a weave in wood.

It’s so refreshing to enter a new media without knowing the “rules” of that medium.  Today I experimented with adding ink in gestural marks onto the plate after the nice clean layer was put on with the roller. Once it goes through once and then gets rollered over again you get this gorgeous ghostly watercolor look (in the dark grey layer here).  I’m also loving adding string resist into the work.

So far I have around 30 individual pieces, many of them still getting layered up.  I’m not doing nearly identical “editions” in the convention of printmaking.  I don’t see the point.  Each of these is absolutely original.  I’ll be painting over some of the ones I’ve printed on canvas, sewing through them… there really aren’t limits to this.

The next plate that will enter this mix will be on copper- layers of cloth texture in soft ground, spit-bite and hand etching a delicate weave.  weave2sm

Written by Mary Corey March

March 15, 2014 at 10:26 am

Magnolia Editions

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So today my tutorial professor Mildred Howard took us to visit Magnolia Editions in Oakland.  She really goes above and beyond.  What an incredible space!  There were notable artworks both carefully displayed in the lobby and scattered, hung, tucked and neatly filed all over the place.  Don Farnsworth gave us a tour and struck me as just the sort of person who would get along nicely with the various engineer, rocket scientist, neuroscientist, etc. set of my friends who build crazy things in their spare time.

IMG_4618The thing that clenched that impression (besides his knowledge of the human-eye/brain, color, etc.) was the studio-made coffee roaster.  It’s a re-purposed barbeque with a little motor for a rotator to turn the little cage for the beans.  We roasted them while he talked about the fine art of coffee-roasting, cooled them over an inverted house fan over a screen, and then he stamped and filled bags for us.  Things like this reassure me about the art world.  I’m glad I’m not the only geek here.

Magnolia has all kinds of incredible toys I want to play with- a huge laser etcher/cutter that has eye-beam spotting (senses dots on your material to better line things up).  They have a print shop, paper making studio, a large scale watercolor printer… so many things.  Especially interesting to me is that they also have everything (including the knowledge and skills) for designing large scale digitally designed tapestries like the Pae White piece that blew my mind at the art fair in LA (a smaller version of this).  It turned out the Magnolia folks did it with her and everything is printed on the largest loom of this kind in Belgium. Something about soft flexible, untreated fabric looking like metal just does it for me.  That it’s in the weave, not any application on the surface.

Anyway- a HUGE printer (more than half the size of my living room huge) that prints on a wide variety of surfaces.  While we were there they printed a new piece that will be used for Imagery Winery’s new label (it is an award-winning winery which commissions artists to do their wine labels.  The surface of the piece itself was layers of laser-etching, then building up the surface and finally printing over the relief.  Wonderful stuff.

Chuck Close’s work features heavily at the studio as they work out processes together (currently tiles for a New York subway installation).   He actually called while we were there and asked us over speakerphone if we really wanted to be artists.  When we said yes, he said “Keep the faith”.  🙂

The whole atmosphere was really a delight.  I would love to come back there with a project to do with them and their lovely toys.

On a side note they were doing exactly what I was doing all day yesterday- using the laser cutter as part of the printmaking process.  Something that seemed like a natural move to me, one I was not at all surprised to hear that others have already been doing.

Written by Mary Corey March

February 21, 2014 at 10:45 am