I am extremely honored and thrilled to announce that my work Grand Variations I was selected (along with 8 other artists) to be given as an award to one of the recipients of the 2017 Governor’s Arts Awards by Arizona Citizens for the Arts. The big event is May 4 at the Phoenician Ballroom. I have no idea who will be given my print as their award. That information is top secret–no one knows until the awards are handed out at the event. I do know it will go to a very good home–every single person or organization up for the 2017 Governor’s Arts Awards is truly amazing in their commitment to and love of art.
Grand Variations I (see above) was printed by Brent Bond of Santo Press. It was created by layering a laser-etched linoleum block print over an digital inkjet print of one of my manipulated photographs. Grand Variations I was printed in an edition of 10; image size 16″ x 16″ on 23″ x 22″ paper; (there are also Grand Variations II, III and IV). Similar prints (Universal Variations) were created using the same technique in a variable edition of 14. They are smaller in size of 10″ x 10″ on 14.5″ x 13″ paper and feature an array of colors with different background layers. Contact me for pricing if you are interested in adding one to your collection.
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My art is now in every room of the most fabulous new resort in Scottsdale. Andaz Scottsdale Resort and Spa recently opened featuring work by the artists of the Cattle Track Arts compound. Mark McDowell and Brent Bond were both instrumental in getting my work seen and selected by the designers of the Andaz property. I have them to thank for this wonderful opportunity to have Kaleidoscope and a lot of other work featured at the resort.
Kaleidoscope began life as a simple drawing of triangles and lines in a tiny sketchbook. I then enlarged the drawing by mirroring it and flipping the orientation into a larger and more complex symmetrical composition. This iteration of the drawing was made into a series of etchings with Cindi Ettinger of C.R. Ettinger Studio of Philadelphia. Some of the etchings were purely line etchings while others combined line and aquatint in several colors. Additionally some of the prints were hand-worked, adding color and texture through collage and/or watercolor.
Kaleidoscope was selected by the designers of Andaz Scottsdale to appear in all of their 206 guest rooms. The work chosen was a unique print created by hand-painting areas with iridescent copper watercolor, collaging triangles of textured brown Japanese paper and drawing lines with graphite (see image below). I photographed the hand-worked print and digitally manipulated the colors in Photoshop. This provided the Andaz design team with a wide range of color stylings to choose from that would compliment the color palette of Alexander Girard’s mid-century textiles that appear throughout the property.
The four different color stylings of the manipulated unique print were digitally printed (archival inkjet) by the amazing Carlos Mandelveitia and mounted on Masonite board. The Andaz quartet of Kaleidoscope prints are available for purchase unmounted. They may be special ordered in two sizes: Approximately 15.5″ x 24″ and 36″ x 48″. Prices upon request.
Kaleidoscope A; 36″ x 48″, archival inkjet print; 2016.
Kaleidoscope B; 36″ x 48″, archival inkjet print; 2016.
Kaleidoscope C; 36″ x 48″, archival inkjet print; 2016.
Kaleidoscope D; 36″ x 48″, archival inkjet print; 2016.
This is the original drawing made in a small sketchbook:
And a larger study of the drawing mirrored and flipped 4 times:
The unique print selected by the Andaz design team with a detail below:
Kaleidoscope is a series I have been working on for close to a decade. There are many different states of the print in editions as well as a dozen or more unique works. Many may be seen here on my website.
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My newly completed drawing is the seventh in my series of Tessellations all based on a single shape. This one has taken me longer than usual to complete–our Thanksgiving trip to Cincinnati came just after I was about half-way into the drawing. Coming back to it after that time away was hard yet rewarding.
Concentrating on the drawing has taken my mind off politics (UGH!). I sat at my drawing table and got lost in lines and shadows. My only concern each day for hours at a time was whether a line should be darker or if an area would look more dimensional, showing more motion if shading was added. As the drawing appears right now, it may or may not be finished. I’ve decided to look at it for a few days–and then determine if it might need a bit more added detail in some of the open areas. Time will tell.
Tessellation 7; 2016; graphite on paper; 22″ x 30″
Here is a fun detail shot of the drawing I took at a low sideways angle. I was completely surprised with how dimensional it looked this way. Who knows? I might turn this oddly angled “anamorphic-looking” photo into a mirrored pattern drawing. The fun never ends!
Tessellation 7 (detail on an angle); 2016; graphite on paper; 22″ x 30″
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My newest relief print is based on the drawing “Circle Swirl” from my Patterns of Obsession series. Printed in an edition of 10 by Brent Bond at Santo Press, it is another laser-cut linocut. It amazes me how precisely the laser-cut can be on the linoleum’s surface. I am pretty thrilled with how it turned out. Soon I will be adding a digital color layer to the print making it into something else entirely. Can’t wait to get that started! It’s going to be so much fun to see how it evolves with color.
First, the drawing:
Circle Swirl; 2016; graphite on Stonehenge paper; 16″ x 16″ image size; 22″ x 22″ paper size. POR
And the print:
Circle Swirl; 2016; Laser-cut linocut; edition of 10; 16″ x 16″ image size; 23″ x 22″ paper size. $400.00
And here is a little teaser for you…my computer rendering (it’s a work in progress–the specific colors may change) of how I intend to add color to the print. Keeping my fingers crossed it will compare to what I can do in Photoshop.
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