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A two-day workshop took place at the Art Complex Museum's Alden Studio with a Pop-up exhibit in the gallery. Five artists explored using botanical prints with positive and negative shapes, textures, and collage elements.
Workshop participants: Lauren Anzivino, Emilie Marks, Amy Jasperson, Karen Dec, and Petrina Garbarini.
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BEYOND Botanicals, a Pop-up exhibit in the Alden Studio Galley, showcases the work of artists who discover inventive ways to use botanical prints in combination with other printmaking techniques, bookmaking, quilting, and painting.
Exhibiting artists: Barbara Ford Doyle, Emilie Marks, Linda Bodin, Natalie Timoshin, Amy Jasperson, Rebecca Sher, Lauren Anzivino, Petrina… read more
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This is a panel I’m working on…the vase is a corrugated cardboard collagraph print. The zinnia gelatin prints are on tengucho. I took the photo to remind myself where I might place them while I work on the background collage.
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UFFA! I am nearly finished with my board book…applying a coat of Golden Matte Varnish to the pages. It has a combination of botanical seaweed gel prints, laser prints of iStock fish, collage, glazing with Golden fluid Quinacridone Nickel Aso Gold, and over painting with Golden Fluid Titan Buff! It was quite an undertaking…even photographing the book was time-consuming. I have interleaf sheets… read more
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A two-day workshop took place at the Art Complex Museum’s Alden Studio with a Pop- up exhibit in the gallery. Thirteen artists explored the use of paper, DURA-LAR® film, and hot glue gun stencils to create multi-layered prints. Collage papers, Posca® pens, and other materials added finishing details.
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An Incomplete Manifesto for Growth: Bruce Mau Break it, stretch it, bend it, crush it, crack it, fold it.
WEEK #4 Textures, stamping, combined layers, and photo laser transfers inspired by YouTube videos by Mark Yeates.
Moka:… read more
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WEEK #3: The Painterly Print: pastels, stencils, and ghost prints.
In the style of Fulton Sim https://www.youtube.com/watch?v=wHAYfyTP4Cg.
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WEEK #2: IMAGINARY AND DERIVATIVE ANIMALS
Inspired by Carla Sondheim’s Doing More with your Gelli®Plate www.carlasondheim.com
Imaginary Animal: Pick an object from my “blob” box and make a contour line drawing. You may look at the object, make a “blind”… read more
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A group of gelatin plate enthusiasts continue to explore printmaking without a press. Demonstrations include, collagraph transfers, monoprinting on tengucho paper, photo laser transfers, and mixed media collage. Between each class there is time to work on “optional assignments.”
Week #1:… read more
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A Little Sketchy Workshop: Gelatin Plate Transfer Drawings was held at Edgewood Farm, the new printmaking studio for Truro Center for the Arts June 26-June 30, 2023. The class ran from 9am to noon, with an open studio in the afternoons. Becca, Linda, Elizabeth, Emilie, and Amy explored ways to use gelatin plate printmaking with an emphasis on drawing and mark making.… read more
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January 21—22, 2023
We started the workshop by viewing framed prints in the Alden Studio Gallery. See previous BLOG.
A class of five artists, Mary, Petrina, Emilie, Lori, and Lisa prepared gelatin plate monotype backgrounds on Yupo paper. Theses were printed with light colored acrylic paints and set aside to dry. Embossed drawings… read more
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A monoprint is one in a variable edition where each print is unique but has a repeated common element. Drawings and collage materials create a “collagraph master” which is transferred to a gelatin plate. The image on the gelatin plate is back painted and textured to create multiple layers before pulling a print. The “collagraph master” may be used… read more
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August 27—28, 2022 10—3pm
Coinciding with the large-scale mixed media work of Jackie Reeves, a two-day workshop explored methods of transferring drawings to gelatin plates. A class of four artists, Emilie, Stephanie, Amy, and Petrina, used ball point pens and other oil resist methods to emboss paper, make crayon rubbings, and create collagraphs which they printed as a series.… read more
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Friday—Sunday, June 17, 18, 19, 2022 10am-3pm
Emilie, Stephanie, Mikael, Mary, and Amy met for three days to prepare gelatin plate monotype backgrounds, Canon Selphy emulsion lifts, and explore how to integrate them with collage materials. Here are a few samples.
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Belated Blog.
Last fall four artists, Emilie, Ann, Kathleen, and Stephanie met for three days to experiment with gelatin monotype printmaking and Canon Selphy emulsion lifts. A little different emphasis from the previous workshop, we spent time preparing background monotypes using various… read more
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Let me first talk about the subject mater: a mannequin is an idealized human figure. Mannequins are inanimate objects with an uncanny sense of aliveness. As substitutes for human beings, they become icons of art. I found this group standing on a sidewalk in NYC. At the time, I was also playing with multiple exposures, so you will see images of skyscrapers and windows. With one click of my camera,… read more
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Workshop description: In the 1940s, Polaroid patented the instant camera with self-developing film. The Polaroid® image transfer process was accidently discovered by a technician who left a developed dye carrier (negative)… read more
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Church Ladies is a photodocumentary of my connection to Hope Town, Abaco, Bahamas and to Haitian members of the Hope Town Assembly Church. After the wake of Hurricane Dorian there was an outpouring of concern and offers of generous support. But when one disaster overshadows another, top-of-the-hour stories become… read more
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The tide rises, the tide falls...sea-sands damp and brown… Henry Wadsworth Longfellow
Near the entrance to Stage Harbor strong currents flow across the sandy bottom of Nantucket Sound. The swirling turbulence of tides and waves form troughs in the exposed sandbars. At ebb tide the… read more
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Making white-line prints using Styrofoam printing plates.
Tulips, 1920 Blanche Lazzell
The white-line print is a relief print in which each color has its own woodblock. Instead of rolling ink over the entire surface, the printmaker paints one area at a time, resulting in a multicolored print. Blanche Lazzell (1878-1956)… read more
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Background: In the 1940s, Polaroid patented the instant camera with self-developing film. The Polaroid® image transfer process was discovered accidentally by a technician who left a developed dye carrier (negative) facedown on a white surface. Imagery transferred onto Arches paper had a muted quality with characteristic chemical borders.
The alternative method… read more
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Artist's Statement: Moving every grain of sand in a natural system of reconfiguration, powerful storms, winds, and waves erode barrier beaches and man-made embankments. Collapsing Dunes documents the escarpment erosion caused by increasing sea levels on Nantucket Sound-facing dunes. Grasses, vines and shrubs once… read more
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June 15—July 28, 2019On March 24th a kick-off reception for PXPIV was held at Cotuit Center for the Arts.
Envelopes with a small square of a “mystery painting” were drawn by chance.
I replicated piece #8 by knitting 100% wool, felting the knitted piece with a potato masher in hot water, and adding a black stripe with a felting… read more
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There are no failures, only unexpected results. It wouldn’t be called an experiment if you knew what you were doing! Even things that don’t turn out right teach us something about process and tools. Scott Valentine, Photoshop User January 2014
Roger and I had a great time at your workshop. We both came away with enthusiasm and intention to continue experimenting… read more
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April 11—May 26, 2019 Opening Reception April 12 5:30—7PM
Georgio, Vista di Taormina: In the 1880’s Taormina was a popular stop on the Grand Tour and later became a high-class resort for intellectuals, writers, royalty and movie stars. Today it remains a destination point for cruise ships and tourists.… read more
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Preparation of the substrate: Art materials are costly. Sometimes I “repurpose” frames or wooden panels. If a panel was used as a substrate for encaustic work, the wax can be melted, and the paper scraped off to the bare wood surface. It’s a messy job, but when it’s done, the panel is primed with encaustic… read more
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Keeping younger patrons in mind, art work for the show is displayed at a height of 4 feet throughout the exhibit. No white gloves are need to flip through the pages of Olive .
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ArtSynergies www.artsynergies.com signed a contract in 2016 to present an exhibition at The Duxbury Art Complex Museum—three years to work on an interpretation of the theme Fusion: the merging of different elements into a union.
Experimenting with multiple exposures, in 2017, Wonderland:… read more
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Published images #1, #2, #6, #10
Portfolio images #3, #4, #5, #7, #8,
Congratulations! Your entry in the Black & White Portfolio Contest 2017 has been selected for a Merit Award. Several of your images will be published as a 2-page spread in the Special Issue #122 of Black &White magazine, scheduled to arrive on newsstands early June.… read more
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Bloom is the first integrated exhibition mounted in collaboration with Cape Cod Collaborative Arts Network. This exhibition will feature the work of local artists of all abilities, including artists with disabilities who have created work inspired by the theme. For this juried show: I continued to use some of Lyn Belisle's collage-making techniques, but I… read more
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HEALING NATURE: HUMAN VISION, ART AND THE ENVIRONMENT
The idea of “healing nature” reads both ways. It could signify nature’s power to heal us through our immersive experiences in the world but it also reads as a strong admonition, with “healing” as a word of action. Artists are keen observers, participating deeply in the natural world, from the micro-world… read more
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As part of the 11th Annual International Encaustic Conference, I enrolled in Lyn Belisle’s one-day workshop at Truro Center Castle Hill for the Arts. Prior to the workshop, Lyn provided a materials list. I came with enough stuff to spend a week! Lyn presented her “AB3” approach to composition. It is ALIGNMENT, BREATHING ROOM, and THREES. Photographers… read more
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A series of Nor'easters have battered Chatham's barrier beach. Protective dunes are taking a beating. Washover #4 shows how narrow the distance is between the Atlantic Ocean and Chatham Harbor. On January 24th, a Storm Surge at high tide created a flow from one side to the other—so far not enough current to produce a permanent "cut."
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Every Which Way, NYC: Hipstamatic is my favorite iPhone app because of its aesthetics to film photography. I shot a series of photographs from a taxi using multiple exposures to add subtle layers of space-related information. The giant sculpture of Atlas suggests the past as a point of reference to the human activity on the street. This image was juried into… read more
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Alternative Photography and Digital Techniques
Higgins Gallery/Cape Cod Community College
I shoot mainly with an iPhone camera and use Adobe Photoshop and a limited number of apps to reflect my particular artistic sensibilities and understanding of the history of photography. I want my images to have a strong tactile quality either from… read more
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Italy Comes to the Orpheum: Cape Cod Chronicle
written by Debra Lawless, April 21, 2016
CHATHAM—A little bit of Italy will be coming to the Chatham Orpheum next Thursday, April 28 with an original show of photographs of Sicilians… read more
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I just wanted to send a personal thanks and recognition of all your efforts on our behalf! Having the opportunity to have this focused interaction with the media, the classmates, excellent instruction and advice, have definitely added to my confidence and helped me visualize a workflow for incorporating these processes into my future output.
Bob Steffen
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exposure:
the act of exposing, laying open, or uncovering
unearthing, unmasking, weathering
the fact or state of being exposed
disclosure, as of something private or secret
Artist's Statement: Barbara Ford Doyle
Imagine an analogy—the likeness of sunbathers… read more
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Top Secret Project
On Sunday April 19th a kick-off reception for Piece by Piece II was held at Cotuit Center for the Arts. Envelopes each with a small square of a “mystery painting” were drawn by chance. With only a few restrictions, I am to replicate piece #44 in any medium and style I choose as part of a large-scale collaborative multi-artist… read more
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I’m thrilled to be working on food images as part of this year’s annual event in Lenox, Massachusetts. Debbi Otto, Tanglewood Food and Wine Program manager, and Kyle Ronayne, BSO director of Events Administration, are in the spring planning phase for the festival which includes seminars, celebrity chef dinners, a grand tasting and cooking demonstrations.
From farm to table,… read more
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Ciao Madonna! is an “encaustic sandwich.” Separated by channels and printed on DASS™film, each CMYK color is transferred to tengucho paper. To make the yellow figures pop, I changed the fusing order—MYCK. My favorite part of this encaustic layering process is buffing the wax!
I'm testing more images on 12 x 12 inch panels. In Encaustic Fresco,… read more
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I have been in computer HELL for two days! The problem was to separate an image into four CMYK colors and print each one on DASS™ film. Alan Trugman, my ArtSynergies and iPhone9 colleague, and I took a post International Encaustic Conference workshop last summer with Wayne Montecalvo. Wayne uses a channels separation technique for silkscreen printing… read more
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My interpretation of the theme is sunbathing. I photographed Paulo and La Donna at Marina di Praia on the Amalfi Coast. Perfetto! The images are edited in Adobe Photoshop and printed on DASS™ film. My plan is to adhere tengucho rice paper to wooden panels using encaustic wax— one black and white pair (sort of an X-Ray) and a second pair using CMYK colors sandwiched… read more
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Start images are iPhone captures using Hipstamatic app, John S lens and D-Type Plate film. I download and keyword them to Lightroom’s Library module, but all my editing is done with Photoshop and additional plug-ins. There’s a lot of tweaking until I’m ready to print a “flipped” final to DAAS transfer film. Each positive and negative was printed separately 12 inches x 12 inches, then… read more
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When making a photo transfer, it's important that the inked side of the transfer film be face down to make contact with gel medium on the receiving substrate. In this case, the film was upside down, so no ink was transferred. Instead of trashing a sheet of limestone paper, the film was flipped over and pressed into the remaining gel. When the film was peeled away, what should have been a "Blue… read more
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Saturday, August 30th I gave my first "hands-on" transfer workshop at Rebecca Sher's 28 & Bank Studio in Harwich Port on Cape Cod. Eight people sent me some images which I edited and printed on DASS™ film. Here is some feedback from Kathie: Thank YOU! I thought your workshop was just the right combination of information combined with the opportunity for each of us to make successful… read more
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The bluish background layers for my Winter Beach series are scans of “pickled” aluminum plates. In a multilayered file, background and foreground images can be interchanged and printed on transfer film either as separate or combined layers. Stone paper is a water resistant product made from calcium carbonate bonded with high-density polyethylene (HDPE), a plastic that can be… read more
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Using only pictures of shoes as “static cues,” social psychologist, Angela Bahns from Wellesley College and colleagues from The University of Kansas, found that “surprisingly minimal appearance cues lead perceivers to accurately judge other’s personality, status, or politics.” Their study was solely a shoe issue. Judgments based on physical appearance would include “dynamic cues”… read more
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Back story: I started this series two years ago when my husband saved his garden crops from freezing. Faced with a pile of peppers, I made relish. It’s an annual harvest celebration that makes our house warmly smell of vinegar. Cutting the peppers in half, I was fascinated by their mysterious internal worlds. The seeds in some looked like teeth, other concavities were more… read more
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Rousseau’s The Dream all came together Saturday, August 31st at Cotuit Center for the Arts. Ninety-six panels were lifted and hung on to a wooden grid. Applause echoed in the main gallery as Rousseau’s famous fantasy painting was finally revealed. My section #91 is on the bottom (outlined in red). David Kuehn, Executive Director beamed with pride—and breathed… read more