The 1967/Swirl print is complete. It is a “companion” to my larger 1967 Swirl painting from the Sixties Paintings series. The print is a 2-color laser-cut linoleum block printed by Brent Bond at Santo Press. Stay tuned–there may be a few more prints in this Psychedelic series. Plans are in the works for some small editions using decorative chine collé papers.
1967/Swirl is 11 x 14 inches on Hahnemuhle paper 15 x 17.5 inches; printed in an edition of 30. It is available for $250.
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This is the first in a series of three prints. It is a one-color relief print completed this week by Brent Bond of Santo Press. Another laser-cut linoleum block, Feather Flower–Red was hand-inked and printed in an edition of 10. The second iteration in the series is being printed now and should be ready to be signed in a couple of days. It is a 2-color print in vivid colors of cobalt blue and chartreuse. The third edition will be a 3-color reduction print. Flower Feather–Red is the 64th edition Brent and I have completed in just 2 years–setting a world record, I think. We are on fire!
Feather Flower–Red is available for $400 (unframed).
Feather Flower–Red; 2017, laser-cut linoleum relief print, 16″ x 16″ on Stonehenge paper 23″ x 22.5″, edition of 10, printed by Santo Press.
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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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This one is so new it is not even signed yet! Just printed and published by Brent Bond and his marvelous and incredibly busy Santo Press, this 3-color reduction lino print was both laser-cut and hand-cut. It also has some offset hand inking using sheets of wrinkled wax paper.
While trying to come up with an unusual background texture for this print, (and many failed attempts) I was inspired to create an unusual way to crease the wax paper. It dawned on me that I could try creasing the wax paper the same way silk is creased to form wrinkles in Shibori textile dyeing. This provided an unusual and delicate pattern on the wax paper which I call Shibori-esque. I rolled a sheet of wax paper on a narrow wooden dowel and then pushed the paper down exactly like the pole-wrapping technique (minus the string) used in Japan to dye textiles.
Brent masterfully incorporated the wrinkles of the wax paper with it’s lacey creases in an overlay of pale yellow on a darker orange ground. This print is the second of what will be a series of three 3-color reduction linocuts published by Santo Press. You can read about Web Mesh, the first print of the series here.
Web Pathway; 2017, reduction linocut; 10″ x 8″ on 14″ x 11″ paper; variable edition of 30; published by SantoPress.
A close look at the Shibori-esque wax paper filled with delicate crinkles and patterns.
Placing the Shibori-esque wax paper on inked plate for 3rd color off-set.
Brent using a roller to offset print the 3rd color. The hand pressure exerted by the brayer causes the crinkled wax paper to push into the ink, leaving it’s crazed, lace-like markings in the ink.
The wax paper is removed, taking away a layer of ink–and leaving the crinkled impression behind. The 2-color print is then run through the press transferring the Shibori-esque, crinkled texture of the wax paper as the third and final color.
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