Print Show Catalogue 2018

INNOVATIVE PRINTMAKING Unusual Techniques, Scale, and Subjects Exhibition Catalogue 2018/19 INNOVATIVE PRINTMAKING Unusual Techniques, Scale, and Subjects Exhibition Catalogue 2018/19 design and art direction : Joyce Westrop exhibition essay : Pat Durr, curator thanks to : Svetlana Swinimer and Gayle Kells photography : Joyce Westrop. © 2019 Enriched Bread Artists Enriched Bread Artists 951 Gladstone Avenue, Ottawa ON K1Y 3E5 Canada www.enrichedbreadartists.com ISBN: 978-0-9731326-3-2 The Enriched Bread Artists gratefully acknowledges the financial support of the City of Ottawa. Tabl e o f Co n te n ts The Exhibition………………….…1 Pat Durr……………………….…. 7 Robert Hinchley……………..……10 Gayle Kells……….……..………… 13 Bozica Radjenovic…………………16 Mana Rouholamini…………..…… 19 Katrin Smith……………………… 22 Svetlana Swinimer……………….. 26 Joyce Westrop…………………….29 Russell Yuristy…………………….. 32 Biographies………………………..35 T h e E x h i b i t i o n Printmaking in recent years has greatly broadened its technical explorations. While many artist printmakers still use the classic processes and produce beautiful editions, others are exploring new and original techniques and innovations in presentation. Artists are producing varied editions, extraordinarily large unique single images, mixed media prints, and three-dimensional imagery, all with or without a press. 1 Enriched Bread Artists approached Pat Durr to curate this exhibition because of her extensive experience in curating and experimental printmaking. Durr, a well-known Ottawa printmaker, curated, organized and presented a group exhibition of innovative printmaking by Ottawa printmakers. The exhibition included several EBA artists who have been experimenting with new print processes as well as other selected and invited Ottawa printmakers. 2 Innovative Printmaking was presented in two parts. The first as an exhibition open to the public at Enriched Bread Artist Studios (EBA) in conjunction with Ottawa's DOORS OPEN, June 2018. An occasion when large numbers of the general public visit EBA. The exhibition, with additional activities, continued through the two weekends. The second part of the exhibition coincided with Ottawa's DOORS OPEN, June 2019. As well as reintroducing much of the original work from the year before, it included presentations by three of the exhibiting artists. Pat Durr also gave a tour to visitors of the art works presented, discussing many aspects of the work and explaining some of their new explorations in printmaking. The exhibition provided a showcase of new, original directions and processes found in contemporary printmaking today. Printmakers have the freedom to use many different techniques in the same print. Hybrid prints here combine seemingly incompatible methods of printmaking such as screen-printing with embossing, woodcut and stencilling, screen- print and spinning structures, as well as dry-point, etching, relief and chine collé. 3 Most of the prints in this show were not created by traditional presses. They were either printed with unconventional presses (a steamroller) or printed by hand. Svetlana Swinimer uses her spoon to print everything from woodblocks on aluminium to her eco-friendly electro-plate etching on paper. Embossing is an old, but not very common technique. In this exhibition there are 3 embossed prints done in three different ways; enormous pressure, vacuum press, and casting. Many of the artists in Innovative Printmaking use their printmaking techniques to enrich their subjects. Pat Durr works with thrown-away objects creating prints with a 50-ton hydraulic press literally using it as a trash-compactor relating to her theme of pollution. Bozica Radjenovic combines her sculptor inclinations to create kinetic prints on domestic fabric which relates to the theme of motherhood. 4 This project supported local artists and provided the opportunity for the wider public to view their work and learn more about different artistic print media. Members of the Ottawa artistic print community were invited to the presentation of the new print processes, especially the electro print process which is a new non-toxic form of printmaking with which a number of EBA artists have been experimenting. The project presented the opportunity for significant cross pollination of new and different printmaking ideas among different groups of printmakers and the art viewing public. This is especially significant as, until recently, printmaking had not been a major focus in Ottawa since the closure of the University of Ottawa’s printmaking studios over 20 years ago. Even still, artists interested in printmaking have few options in 5 Ottawa to discover new processes and techniques. There are few print studios currently functioning in Ottawa. There are classes and presses at the Ottawa School of Art, the Ottawa-Gatineau Printmakers Collective have a small print shop on Strafford Rd. in Bells Corners, and screen- printing workshops through Possible Worlds. Generally, printmakers still tend to be working alone or in isolated groups. This project afforded the opportunity for the various professional printmakers, students and the public to interact at the public events at EBA. This catalogue includes sample images from each artist and a short note about the original nature of the process they are using for their print making. 6 Pat Durr Pat Durr, Sun Rising, 2012-17, Mixed media collagraphic multi plate monoprint on Arches Moulin du Gue cotton/linen rag paper, 42 x 58 in, Unique print, Courtesy Galerie St. Laurent+Hill 7 "Sun Rising" is a mixed media multi-plate collagraphic monoprint which was printed on a monster press in North Adams, Massachusetts at the Contemporary Artists Center. 8 …. Pat Durr Durr’s artworks allude to the problematic interface of our lives with the natural, and the urban-industrial environments that surround us. She incorporates the images of ‘detritus’ in her prints. The waste used are objects transformed by human intervention and of no artistic prestige per se. They carry the history of their usage and document our lives and our choices. The prints contain 21st century stories – urban stories that embody the history of our consumption, yet Durr seeks to turn the trash and waste into something positive and beautiful. While the prints reflect her concerns with the serious pollution currently found in our environment, she wants the prints to become a visual poem, rich in allusions about regeneration and renewal. 9 Robert Hinchley “April” is a mixed print media work. The print medium is colour woodcut relief, stencil printing, acrylic spray paint, oil stick and collage. My attempt is to create an environment for the viewer. The repeat of the bird symbol is something that I have often used in my work. It references visual stories and experiences of where I live and work in the Ottawa Valley. The use of spray paint and stencils visits my early image making and skateboard culture. The coin collage pays tribute to Jim Boyd as I had seen him use a dime in one of his past works. The print is a unique image and completely process driven. 10 Robert Hinchley, April, 2018, Wood cut, Stencil, Spray Paint, Oil Stick, and Collage on paper, 30 x 22 in, Unique Print, Courtesy Gallery St Laurent+Hill 11 …. Robert Hinchley 12 Gayle Kells Gayle Kells, Botanical Study, 2014, Block Print on paper, 67.5 x 27.5 in, Artist print using Steamroller 13 My work examines identity and socio-political issues using painting, drawing and mixed media techniques. In the past, a series of ink drawings have been spontaneously created and commonly use rhythmic, repetitive patterning reminiscent of lace work, crochet and other 14 ….Gayle Kells embroidery or needlework techniques. These works are emotive, often mysterious pieces made intuitively without reference material but do, in the end, suggest the mysteries of the natural world. The print exhibited here, entitled Botanical, is an extension of this work transforming the intimate drawings to large-scale format block printing using a steam roller as a press. 15 Bozica Radjenovic Overall my work explores relationship between material and subject matter. For this exhibition I created three woodcuts that I printed on vinyl, paper and fabric. The meaning of each print has been changed according to printing surface. The prints on paper and vinyl look like signs and the ones on fabric samples have fable or story telling character. During the process of printing woodcuts I was Bozica Radjenovic, L to R, The Mother of Four, The Undercurrent, and The Goddess of Speed, 2018, Woodcut printed on fabric mounted on rotating Lazy Susan, 26 x 16 in 16 amused how the left side on plate became the right side on the print so I continued the with the same “play rule” and now the bottom become the top and vice versa. In terms of subject, my Goddess of Speed, Mother of Four and Undercurrent came from personal stories of two headless creatures and one legless reality… Bozica Radjenovic, The Mother of Four, 2018, Woodcut printed on fabric mounted on rotating Lazy Susan, 26 x 16 in 17 …. Bozica Radjenovic Bozica Radjenovic, The Sign of the Time (running but getting nowhere), 2018, Woodcut printed on transparent vinyl mounted on welded steel, 60 x 20 x 20 in 18 Mana Rouholamini Mana Rouholamini, Flowing and keeping, 2018, Woodcut on paper, Unique hand-printed 19 Water, moving through, digging through, flowing - miraculous and proud - carrying memories and the good deeds thrown in her. A Persian expression says: “do a good deed and throw it in the water and somewhere in the desert it will return to you.” My work follows the water that remembers in an imagined journey. Mana Rouholamini, Flowing and keeping, 2018, woodcut plate 20 …. Mana Rouholamini 21 Katrin Smith For this invitational printmaking exhibition, I wanted to present the viewer with a fresh perspective on how fine art prints could be displayed other than simply in a standard frame behind glass. In my day to day practice, I seldom create series of prints rather the majority of my prints are unique, one-of-one artworks.

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