A Day in the Studio with Riley Hanson: Woodcut Performance (BFA ‘17)

Installation and performance with woodblock plates, woodcut prints, painted walls, pedestals, found objects and fruits.

Riley says about his work:  Prints are complicated, like us. They exist under the ideology of art history, which is a lot of pressure if you ask me. Any boy or girl understands this pressure, the difficulty positioning yourself amongst an infinitely vast world. This space is a vantage point to see into the mind of a young boy, and the dichotomy that exists within these prints. They are fighting to be sacred while folding over on themselves to live as paper and ink. Their creation, which exists as a performance that has been documented in film, has created a mythology. The boy is not present but the viewer is invited to contemplate the space as one in which he previously inhabited. How would these prints think or feel about their current state? There lasting future? Legacy? Similar to how the boy may contemplate the idols he reflects.

Brandi Kruse

I became familiar with Brandi’s work when I was at SGCI 2016, she recently graduated with an MFA in Print Media at Pacific Northwest College of Art. In no particular order, she thinks of herself as a teacher, photographer, printmaker and poet. Her work is dependent on time, light, and language and she often questions what is gained and what is lost in this reliance

after coffee photolithography with screen print on Somerset 15 in x 22 in

under over pass photolithography with screen print on Somerset

These photolitho and screen print combinations marked the beginning of Kruse’s use of photography and traditional print techniques. With an interest in light, shadow and architecture, she began eliminating photographic information in her photolitho plates and adding information back in by screen printing washes of color and windows of gloss varnish. These prints came just before her newest work in which she preserves a moment, printed in photogravure, that floats freely in a field of white. These prints are full of space and nearly empty. Her work is not really about architecture or windows; it is about using existing structures as an investigation into time, vulnerability, expectations and space.

 constant/variable photogravure with gampi chine-collé on Stonehenge 25 in x 37 in

light/weight photogravure on Somerset 11 in x 14 in

These prints are from an ongoing body of photogravure work in which windows act as framing devices for moments that seem to compress time and space, that slow the pace, allow for vulnerability, and remind her of the beauty of disruption. There is tension here between presence and erasure, past and potential, the tangible and the imagination, the written and the reader.

Brandi.Kruse@gmail.com BrandiKruseArt.com https://www.instagram.com/brandikruse/

Patric Dreier

IffBe, 2014

“…In his series ‘IffBe’, Patric Dreier is playing with the contrasts between urban and rural architecture. He focuses on distinctive elements, stripping the picture down to an accumulation of lines and forms, creating a fictional space. The series aims to depict the conformity of our habitat and raise questions about the putative idyll of the single-family home as we know it…”

All images © Patric Dreier

Richard Tuttle at the Fabric Workshop and Museum in Philadelphia

“Art always comes from art.” —Richard Tuttle

VCU Qatar's mobile screen printing setup constructed by a Special Topics: DIY Print class.  The entire unit stores vertically when not in use, and rolls on it’s side when in transport. Awesome.

Quite Amazing!!!

http://m.youtube.com/watch?v=Lr1g99ub74A&feature=share

PMOF mailing list here: http://printmakersopenforum.org/contact

Nice

Erin Shirreff

http://www.erinshirreff.com/

Wawrzyniec Tokarski ‘In Regress’ at Wentrup Gallery

www.artslant.com/ber/events/show/281757-in-regress

Alexander Chen spent an afternoon improvising melodies on viola, and recording them through Google Glass. This resulting song is composed completely from 8-second video loops, stitched together into a film. Chen says, “You can see  all the layers of the song, like a first-person orchestra.”