2020 Printmakers Annual Exhibition

Every year since 1933, the Honolulu Printmakers has commissioned a local printmaker to produce an edition of prints that the organization sells to its 2020 members and the public to raise funds for its activities. The 2020 Gift Print Gift Artist is Marcia Pasqua. Marcia Pasqua has been creating prints since the early 2000s, exploring a Print variety of printmaking techniques including monoprints, relief, and more re- cently, pochoir. Her creative process incorporates repetition and layering of lines, shapes and colors to create abstract patterns and compositions. She Artist has exhibited her art both locally and internationally and is represented in various public and private collections including the Honolulu Museum of Art Marcia and Hawai‘i State Foundation on Culture and the Arts.

Pasqua Marcia received her Bachelor of Fine Arts in Painting and Drawing from the University of Hawai‘i at , then went on to study sculpture at Univer- sity of Hawai‘i, and printmaking through various Honolulu Printmakers work- shops.

The Gift Print is produced in a limited edition of 75 impressions, with prof- its from sales going directly to support the work of the Honolulu Printmak- ers. The first and second impressions are retained by the Honolulu Museum of Art and the Honolulu Printmakers, respectively, for their archives. Go to honoluluprintmakers.org to purchase. 2020 Gift Print Lipo Marcia Pasqua Pochoir

My current work is characterized by the repetition of lines, shapes, and colors to create abstract patterns. For this piece, my intention was to create a contem- plative mood for the viewer, and perhaps offer a res- pite from the ordeals of daily life.

The title, the Hawaiian word “lipo”, refers to the deep- dark blue of the ocean. Inherent to the term, though, is the notion of the diverse blue colors present within its depths. For me these colors have a transformative effect. I go to the ocean and immerse myself in the colors. I leave the ocean renewed.

I didn’t try to match the colors of a particular locale in Hawai‘i. Instead, I worked intuitively to create an eight-color palette. I used pochoir, a printmaking tech- nique that employs the use of stencils, to reproduce my original design. Eight stencils were cut, one for each color. The colors were applied with pochoir pom- pon brushes. Various ink application techniques were used to produce textures and values. ABOUT POCHOIR Like other printmaking techniques, pochoir began as a process for commercial reproduc- tion of printed images. As with those other techniques, artists soon discovered the po- tential of pochoir for more complex aesthetic statements. Pochoir is a stencil technique and, as a mem- ber of that family, has the longest lineage of any print process. The images of human hands, found in caves dating as far back as 35,000 years, exemplify the concept at the heart of stencil technique: the use of an inter- mediary layer to confine and control the ap- plication of color to a receiving surface. In the case of the cave images, the hand created a resist around which the artist blew pigment, creating a negative shape or silhouette. More often a stencil consists of a thin layer of ma- terial with cut-out shapes that allow the art- ist to limit the application of paint or ink to specific areas. The use of stencils may be found in several different cultural contexts. In 15th century Europe, for example, stencils were used to apply color to black-and-white woodcut illus- trations as well as playing cards. More con- temporary applications, utilizing spray paint, include official signage and graffiti. Screen- printing is a related process, stabilizing the stencil through application to a thin mesh layer that allows for more controlled applica- tion of ink. Pochoir—the term given to stencil printing in late 19th and early 20th century France—el- evated the process to a level of unique re- finement. Associated particularly with Art Nouveau and Art Deco, pochoir images were used extensively in fashion journals and foli- os of industrial, architectural, and interior de- sign and textiles, as well as pattern books for fabric and wallpaper design. The technique was also used to produce works by artists, including Man Ray, , Fernand Léger, and Sonia Delaunay. Utilizing thin but durable sheets of aluminum, copper or zinc, and later, celluloid or plastic, skilled craftsmen would cut the stencils, of- ten in complex designs that could be tightly registered, and then pass them to the color- ists, who would use them to apply the pig- ment to the paper by brushing color into the open areas of the stencil. Gouache was the most often used medium, preferred for its density and richness of color. Because of its time- and labor-intensive nature, with all work done by hand, pochoir ultimately lost ground to more mechanized means of commercial print production, but artist-printmakers still appreciate the technique for its distinctive visual qualities.

- Marcia Morse honoluluprintmakers.org

MY STUDIO PRACTICE doing so, provoke a certain visual, intellectual and/ or emotional impression or message. The con- I am interested in beauty, irony, inevitability, and tainers that hold them are mass-produced dispos- the common and extraordinary way we structure able objects, such as a yogurt cup, a Styrofoam our surroundings. I find beauty in the man-made take-out box, and an instant noodle bowl. These spaces and objects, both handmade and commer- throwaway objects and cut flowers engage in a cially mass-produced, that we surround ourselves dialogue that also speaks about impermanence with. It is especially true when these spaces and and persistence. objects subtly suggest a contradicting sense of time that seems both temporary and lasting. I work alone in my studio, exploring ideas and pro- There is truth and honesty in time, as all of us cesses that I am enamored with as I make art. share the fate of impermanence. But the way we Most of the time, my studio practice fills me with surround ourselves with collections of things, and complete joy and intellectual and creative satis- shelter ourselves within the structures we build, faction. However, it can sometimes be an isolat- it is as if we feel a sense of permanence through ing experience. In 2013, with two other artists, these comforts. In my work, I make images and Katie Baldwin and Mariko Jesse, I began collabo- forms that highlight everyday events, spaces, and rating on a body of work. It had initially grown objects, that while insignificant and mundane, al- out of our desire to continue the dialogue that we low us to notice both the stillness and the pas- have shared during our international mokuhanga sage of time. artist residency in Japan in 2004, which is when we first met. No longer sharing the same space In my most recent series of works collectively ti- of the artist residency, but wanting to find ways to tled Momentarily (2015-ongoing), I examine the continue the shared experience, we began mail- idea of still life through time and materiality. Ob- ing one another editioned prints, artist books, or serving the top of my kitchen table, as the daily objects that we made. These prints and objects mail, grocery bags, and take-out dinners are set became a way to continue the creative dialogue, and then quickly discarded (or left to pile up), I and over time, they became a collection of our became keenly aware of time that is both tempo- long-distance conversations. rary and lasting. The table top becomes a site for staging an ever-present, yet always changing still Since its beginning in 2013, we have completed life of a sort. The set-ups, which consists of items two collections that are housed in hand-made such as a take-out dinner, grocery bags, and the clamshell boxes and we are currently work- daily mail, are brief and temporary, and the in- ing on our third. We became a collective called tended timespan of these disposable objects are wood+paper+box, taking the name from our first short, typically meant to be used only once. But collaborative project. What started as an experi- as materials, they often last longer than their in- mental exercise has now become a significant tended lifespans. part of my creative endeavor, and it has also opened up possibilities into the area of book arts I transform their physical presence by recontextu- for me as an individual artist. alizing these objects through new materials and new contexts. For example, my daily drawings Currently, as I continue the wood+paper+box depicting junk mail piles are collected and then collaborative work and my own individual prints, made into a large stack of tabloid newspapers drawings, and sculptures, I am also beginning a (another form of junk mail); A Styrofoam take-out new project titled Ephemera, et cetera. I am con- container in a plastic bag with a generic ‘Thank tinuing my explorations into the idea of time and You’ message printed on it is then meticulously man-made objects, while further engaging in the re-created as a sculpture using slip cast, glazed depiction of material culture and printed media. porcelain and lithograph printed on Gampi pa- I have become interested in the material culture per, which is then hand constructed into a bag that is a consequence of an event or action, both form. While these are faithful and earnest rec- everyday and special. Experiences are of a tem- reations of reality, the slight shift in their context porary nature, but can often result in a tangible and materials brings about a shift in the sense of byproduct, such as a vacation postcard, a dispos- time, place, and purpose. By doing so, I hope able cup, a direction scribbled on a piece of paper, to explore the notions of familiarity, materiality, or a concert ticket. These items as a collection ephemerality, and persistence. are defined as ephemera. They hold the potential for being discarded and cherished, temporary and In the Arranged Flowers series (2009-ongoing), lasting. I envision that this body of works will also I make prints and paintings using images of cut allow me to examine the idea of artists’ books flower arrangements. The flowers, once cut from further, exploring the properties of artists’ books their roots, have only a short remaining time to and the notion of collection. live, and they will quickly wither and die. But be- fore they do, they are elegantly and elaborately -Yoonmi Nam arranged, as if time will stand still for them. It is not necessarily within the general area of nature or botany that I place my interest. Rather, I am attracted to the beauty, irony and artistry of flow- top to bottom: er arrangement. I am interested in the idea of Guys and Fries, lithograph, 2018 cutting flowers, and artificially organizing them to M, lithograph, 2018 create the illusion of a natural environment, and in Winstead’s, lithograph, 2018 I thoroughly enjoy the process of discov- ering artists and their work that I am not already familiar with… I am profoundly im- pressed and moved by so many wonderful art works that are being made by so many artists all over the world. Especially when it comes to printmaking, being a printmaker myself, it gives me joy to see the visible passion that we all share.

It is difficult to say what I will be looking for specifically, because I believe it is about how it all comes together as a whole. Sev- eral different works may come together and start a dialogue that may be hard to ignore. Something that might be quite surprising that I didn’t anticipate may tug at me even if I am not sure I like it. That said, I value an ease and logic in the relationship be- tween process and image. I also appreciate it when a work is surprising, provoking, and unexpected both technically and conceptu- ally. I applaud both the mastery of a print technique as well as a challenge to the print tradition. It is gratifying to see the thoughtful selection and curation the applicants make in the small grouping of works they present. Ultimately, beyond technical proficiency and eye-catching imagery, I know I will be moved by authentic and sincere voices.

I am grateful to be given the opportunity to be inspired and amazed in the presence of your works, and I look forward to seeing them and to meeting you.

Yoonmi Nam’s work considers cross-cultural experiences and a sense of transience through observations of everyday objects and occur- rences. In her prints, drawings, sculptural 2020 works, and installations, she uses familiar dis- posable objects and cut flower arrangements as subject matter and explores their materiality, Annual ephemerality, persistence, and the common and extraordinary way we structure our sur- roundings. Exhibition Born and raised in Seoul, South Korea, Yoonmi received a B.F.A. degree in Printmaking from Juror Hong-Ik University in Seoul, Korea. She moved to the U.S. to study at the Rhode Island School of Design, where she received an M.F.A. de- gree in Painting/Printmaking in 2000. Yoonmi Yoonmi has received numerous grants and awards to support her studio practice and travel. Some notable achievements include a Solo Exhibi- Nam tion Award from The Print Center in Philadel- phia, MI-LAB Artist Residency Award in Japan, The Hall Center Creative Work Fellowship at The University of Kansas, and the Ngawang Choephel Fellowship from the U.S. State De- partment. Her work is in the collections of the RISD Museum, RI; Spencer Museum of Art, KS; and the Beach Museum of Art, KS; among others, and has been shown both nationally and internationally including countries such as Japan, New Zealand, Scotland, Korea, Ger- many, Poland, Mexico, Bulgaria, Italy, Sweden, and Paraguay. Yoonmi has taught at RISD and Washington University in St. Louis. Currently, she teaches at the University of Kansas, where she has been a faculty member since 2001. MARGARET BARNABY DUNCAN DEMPSTER LYNN HAIA Spring Wind littoral Stop 1 multiple plate wood block print screenprint on plywood relief woodcut with chine colle

MARGARET BARNABY DUNCAN DEMPSTER LYNN HAIA Okavango Monochrome smallercluster Stop 2 multiple plate wood block print woodcut relief woodcut with chine colle

REGINA BODE DOUBLE DOG DARE STUDIO (Sally French, SHARON HEITZENRODER In Repose Scott Groeniger, Nick Potter, Kirsten Rae Collect Me monoprint, drypoint, chine colle Simonsen) digital print Untitled: Space Oddity (home again) DONNA BRODER poly-plate litho, digital archival pigment, SHARON HEITZENRODER For the Sake of Simplicity colored pencil Alien monotype digtial print ASHTON ELLIS ALLYN BROMLEY Queens TERRY HILDEBRAND On Having a Word With My Mother screenprint Minuet in Six Colors screenprint on reclaimed plastic relief, woodcut, 6-color HOWARD FARRANT PRATISHA BUDHIRAJA rage against the dying of the light TIANA HONDA Ag47 drypoint MINU GA HANA 「見ぬが花」 intaglio and relief intaglio - etching, aquatint, digital, chine colle HOWARD FARRANT PRATISHA BUDHIRAJA Where do we go in dreams? TIANA HONDA 9 Bags hand colored drypoint CONSUME 「食い切る」 intaglio and relief reductive single plate intaglio etching AILEEN FELDMAN & aquatint PRATISHA BUDHIRAJA Endangered Species Anthropocene risograph TIANA HONDA relief EXUDE 「滲み出る」 CASSIE FERGUSON reductive single plate intaglio etching JARON CHATANI Ubiquity & aquatint Three Wolves Together Clinging stone Lithograph, monoprint linocut print LESLIE HOPF PAUL GALANG Juxtapose JARON CHATANI Sequential Upgrowth relief monoprint, mixed media resin and Fecund lithograph enamel paint digital archival pigment print PAUL GALANG LESLIE HOPF JARON CHATANI Mark of Verity Penne Lottie’s Trailer lithograph, chine collé mixed media , etching, silk screen and collage linocut print SONNY GANADEN ANNE IRONS JARON CHATANI Kuya Joseph Kahahawai, Martyr of connections lead to understanding Fertile relief, lithograph monotype digital archival pigment print MONICA GARRETT MING LI JIANG ROSIE CONNELLY Moonlight’s Drip #1 Voice of Ancients TechTych multi-plate collagraph with hand-coloring woodblock print screenprint JON GOEBEL STEVEN KEAN ROBERT CORSAIR Seed Parallax untitled Intaglio: drypoint and aquatint woodcut monoprint JON GOEBEL STEVEN KEAN HANNAH CRAFT Shifting Ground Sea Fold Polyptych (from the Flat Stuff du Se- etching and aquatint woodcut ries) embossing on cinefoil JENNIFER GOYA KATHY KELLEY Remember The Time - Elation KAWELINA CRUZ http://bit.ly/rememberthistoo monoprint/multimedia Release computer drawing and website intaglio and screenprint YOO SOO KIM SCOTT GROENIGER We are the Breath of the Earth HEIDE CUMES On Floating Bodies [Falkirk] monoprint Entropy: AV Truck digital achival pigment print on kozo adhered mokuhanga to wood panel JIHAE KWON Abandoned Cars DUNCAN DEMPSTER LALI GROTH lithography, inkjet printing, and cut paper country Les Fleurs de Joie screenprint on plywood monotype ILEANA LEE Quartet monoprint, chine colle, collage ALAN LEVY DIETER RUNGE NAKEMIAH WILLIAMS Aloha Kaua’i ‘O’o Aid Mc Spade Look Back monoprint woodcut on mulberry paper Archival Pigment Print

ALAN LEVY DIETER RUNGE KIARA WOMACK Perfect Balance The Pope Please monoprint woodcut on mulberry paper Intaglio- copper plate etching, dry point, screwdriver punching JESSICA LOEFFLER KAMRAN SAMIMI Depths of Dark Tessellation KIARA WOMACK intaglio - etching & aquatint & soft ground relief print from stone, chine-collé Please Intaglio- copper plate etched embossing ELIZABETH LOWREY KAMRAN SAMIMI Shifting Seasons Blue Earth GEORGE WOOLLARD monoprint with chine colle ink rubbing from stone, watercolor Zephyr mixed media mono print DWIGHT LOWREY ERICA SANTOS Meubles Serendipity GEORGE WOOLLARD monoprint lithograph Apex mixed media mono print NAOISE MAGEE BRENNAN SIMCOCK L&L on Liliha St Feather, fur and fin NADINE YOKOTAKE relief intaglio with chine colle Ghosts maniere noir lithograph KRISTIN MCANDREWS LAURA SMITH You What? Water Dress YUHUAN ZHANG monoprint woodcut, stencils Hometown: Yangzi River monoprint and drypoint MARCIA MORSE LAURA SMITH Thicket It was a Hot Day mixed media (photogravure, text, wood) woodcut, risograph, winged book structure Honolulu DEBORAH NEHMAD LINDA SPADARO targeted dissonance II Gimme Shelter Printmakers direct gravure on gampi chine colle monoprint - drypoint with chine colle on Somerset 92nd LINDA SPADARO DEBORAH NEHMAD Golden Hour targeted dissonance III monoprint - drypoint and chine colle Annual direct gravure on gampi chine colle on Somerset MICHAEL TAKEMOTO Exhibition Sumie Etching 04 DEBORAH NEHMAD Solar plate etching targeted dissonance V 1/15/20 – 2/14/20 direct gravure on gampi chine colle EILEEN TOWATA Honolulu Museum Of Art School on Somerset Midnight at Bitter Creek 1111 Victoria Street Screenprint Honolulu, HI 96814 PAULA NOKES Our House EILEEN TOWATA YOONMI NAM chine collè and drypoint print Waiting for Lunch Juror and Visiting Artist Screenprint with watercolor detail MATT OKAHATA DiscordoftheGoddesses CHIHO USHIO MARCIA PASQUA monoprint and woodblock Alchemy 2020 Gift Print Artist Stone lithography, Paper Lithography, MATT OKAHATA Screen Printing AWARD DONORS Abundance Foundation, The Fine woodblock PAUL WEISSMAN Art Associates, Kelly Sueda Fine Lux Art, Hawaiian Graphics, Pegge ERIC ORDORICA Lithograph, 24k gold Hopper and the Pegge Hopper Gal- Eva lery, Left Wing Right Brain Fund of archival pigment print JARED WICKWARE the Community Founda- Simple Pleasures tion, Sanne Higgins, Sharon Twigg- ERIC ORDORICA copper engraving Smith, Marcy & Bob Katz, Diane Lupe Ko, Marcia Morse, The John Chin archival pigment print NAKEMIAH WILLIAMS Young Foundation, and several Dinner for 1 anonymous donors. JULIE PETERSON Archival Pigment Print Transparent Mahalo to all of the countless woodcut with gold leaf NAKEMIAH WILLIAMS volunteers who made this exhibition possible. Unhang MAYA PORTNER Archival Pigment Print Go to honoluluprintmakers.org for Shuffled Attributes of a Tower Crane information about the work in this digital machine embroidery exhibition. ABOUT HONOLULU PRINTMAKERS Honolulu Printmakers, founded in 1928, is a nonprofit arts organization dedicated to promoting print culture in the State of Hawaii. We fulfill our mission by running a community access printmaking studio, organizing exhibition opportunities and artist residencies, and conducting educa- tional outreach and demonstrations in the community. Our studio is lo- cated at the Honolulu Museum of Art School, please stop by for a visit -- we’d love to get you involved!

Become a member of Honolulu Printmakers Your membership supports printmaking activities in Hawai‘i such as exhibitions, newsletters, open houses, visiting artists, classes and demonstrations, school outreach, and a community-access print- ing studio for Hawai‘i printmakers. Go to honoluluprintmakers.org to join or find out more.

BASIC - $25/year OPEN PRINT STUDIO Members at this level are artists, printmakers, collectors, Studio fees are $20/day, $50/month, $125/quarter, or supporters -- anyone who cares about printmaking and $450/year. This covers inks, press time, solvents, chemi- wants to stay informed about and contribute to our activi- cals, stones, Plexiglas, etc. Printers provide their own ties. Basic members receive all mailings and discounts, paper and metal plates, along with incidental tools and but may not use the studio (HMAS students excepted). materials. We have complete facilities for intaglio, relief, monotypes, lithography, and screenprinting. A volunteer STUDIO - $50/year shop assistant will orientate you to the workshop, but Those in the Studio category comprise the bulk of our you are expected to function independently. Printers membership, and enjoy access to open studio in addition need to be members of the Honolulu Printmakers. to all of the benefits above. Studio members have book and tool borrowing privileges from the Printmakers’ facil- STUDIO HOURS ity, and have the option to reserve exclusive after-hours Monday 9am - 5pm edition-printing time. Tuesday closed Wednesday 1pm - 9pm PATRON - $250/year Thursday 9am - 9pm Patrons are steadfast supporters who believe in the Print- Friday 9am - 5pm makers mission and are motivated to make a significant Saturday 1pm - 5pm contribution. Patrons enjoy all the benefits described Sunday 9am - 9pm above, and in appreciation, receive a special Patron Print of their choosing from the Honolulu Printmakers collec- Open Studio hours are subject to change. tor’s archive. To see the latest hours and holiday closures check our PROFESSIONAL - $550/year website or follow us on social media. Our all-inclusive category of membership is designed You may join online at our website, or download a mem- with convenience in mind for the active print artist who bership form and mail it in. Membership forms are also wants to show up paid-in-full and fully equipped without available in the studio. having to keep track of studio fees. Includes all benefits of studio membership, a year of studio fees, plus the use of a flat file drawer and 16 hours of prepaid after-hours studio use.

2019-2020 BOARD OF DIRECTORS HONOLULU PRINTMAKERS PRESIDENT John McCaskill Honolulu Museum of Art School VICE PRESIDENT Hannah Craft 1111 Victoria Street SECRETARY Paul Galang Honolulu, HI 96814 TREASURER Paul Weissman 808-536-5507 DIRECTORS Jeffrey Davis, Brady Evans, Sam Guerrero, Leslie Hopf, Alan Levy, Elizabeth Lowrey, Dieter Runge, [email protected] April Sham, Laura Smith, Yuhuan Zhang honoluluprintmakers.tumblr.com like us on facebook EXECUTIVE DIRECTOR Duncan F. Dempster Jr. instagram: @honoluluprintmakers twitter: honprintmakers

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