Studio

Untitled; March, 2014; Fujifilm, PVA glue; 840 x 595mm

Untitled; March, 2014; Fujifilm;  455 x 640 mm

Collage 1; March, 2014; Paper, Fujifilm; 295 x 210 mm

Collage 2; March, 2014; Paper, Fujifilm; 295 x 210 mm

Collage 3; March, 2014; Paper, Fujifilm; 295 x 210 mm

Collage 4; March, 2014; Paper, Fujifilm; 295 x 210 mm

Collage 5; March, 2014; Paper, Fujifilm; 295 x 210 mm

Monoprinting by Simon Ripley

Monoprint with Simon Ripley from Double Elephant Print Workshop on Vimeo.

More about Simon Ripley.
 The work emerges from simple sketched drawings that make reference to real objects in the world around us: an element of the landscape, a domestic object, an iconic form. The work is made as an entirely intuitive response to these drawings. The sources are images, places, ideas, conversations half remembered and the aim of my work is to reflect back a particular way of seeing. The colours are the driving force breathing life into the spare shapes and forms.

Laura Berman

So here is my latest interest... if I were to list words that I currently feel are exemplary to my studio practice, it would be :   Printmaking, colour, pattern, collecting, layers.  I'd like to try some monoprints as shown below.

Umbrahome
Relief monoprints
Ongoing series of prints, sizes 20” x 15” and 22” x 22”
2011

'This series of prints combine my loves for color, shape, pattern and collecting. These prints take an expanded look at the objects and things that I collect and live with. These objects have their own individual histories and origins, and these combine all together to create entirely new stories in this series of prints.'

Source from Laura Berman Projects.


A must see is PRINTERESTING's studio visit to her space!

A Colour Box ( 1935) by Len Lye

I suggest you mute the music to focus on the animation.

The smallest printing company.

I just had to share The Smallest Printing Company. What a wonderful idea! Wish I had my own. What a great project to take on, give prints out to the public. I would roll my little company down the street and distribute prints to anyone and everyone.

More on Moire.

Tauba Auerbach prints, “Mesh/Moiré I-VI”, 2012

A lot of Auerbach’s art is about the tension between an almost total control over what goes into a process and an absence of control about the result that emerges from that process. She explores her system and process thoroughly, with thought and experimentation, and then when she’s ready, she lets go.

Auerbach created these prints by testing a variety of plastic meshes in which she has inked up and before running them through the press directing onto the paper. I am interested in her arrival of contrasting colours such as the orange and blue print shown in the photo above. Even though she selected contrasting colours, her prints combines the two to make something quite neutral. Naturally, with printmaking she works in developing her layers. The pattern is generated by the way they interact with each other. Similarly, I am currently creating work that deals with the way layers interact with one another. More on that on another post!

Read more at Ruins or Books
Also, check out Tauba Auerbach's website for your eyes to feast on. 

Color codification dot drawings by Lauren DiCioccio

Lauren DiCioccio's Artist's Statement

My work investigates the physical/tangible beauty of commonplace mass-produced media-objects, most recently: the newspaper, magazines, office papers and writing pads, plastic bags, 35 mm slides. These media are becoming obsolete, replaced by the invisible efficiency of various technologies. In some cases, this transition is a good thing- faster transmission and distribution of information, streamlined systems, openness to user input, less waste. But a hole is left behind by the disappearance of these everyday objects. What will happen when we no longer touch information? When newsprint does not rub off onto our fingertips? When we no longer write longhand? The tedious handiwork and obsessive care I employ to create my work aims to remind the viewer of these simple but intimate pieces of everyday life and to provoke a pang of nostalgia for the familiar physicality of these objects.

Crit discussion

Every time I have a crit, I like to review my notes and summarize it in a concise manner so that it is easier and clearer for me to see the main points as a whole before I make the next step towards my artistic trajectory.

Observations:
1) Colour- interplay of colour, tonal colour, combination of colours- how they interact with each other, mixing.

2) Printmaking- mirroring image, underlying of transferring images from one surface to another.

3) Transparency- Creates a distance between painting and surface.

Feedback from others:

The work is abstract, and there is a degree of control ( such as deciding where the paint goes). However, there is an element of chance when the layer has been flipped to create a shape merged with the layer behind it, resulting to an 'organic/ natural phenomenon'.

There is a sense of space from the lift.

Reminiscent of brain scans/ psychology tests. What do you see? Ideas surrounding perception (of colour)

It's Playful! ( A recurring adjective towards my work. ) with and element of mark making.

Deconstructing painting. Do I want to explore this territory? ( If so, how far?) Alternatively, I focus on colour and transparency.

Improvements/ Developments:
Possible way of shifting/ moving layers?

Research:
Painting is Modern [Book- ask Andy for publisher or author]
Installation and Experimental Printing by Tala, Alexia.  - See research document.