The Hand Magazine Issue #42 by The Hand Magazine

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Is s u e 42

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CONTENTS

42 Jason Sobottka Sibling Relief Lithography, relief, Screen print and recycled grocery bags in layers of resin, on panel 0” x 8” x 2”

jasonsobottka.com

4-5 Lynk Lynk Collective Collective 4-5 10-15 Davidson Davidson Gallery Gallery 10-15 26-31 Rodrigo Rodrigo Valenzuela Valenzuela 26-31 42-43 Paloma Paloma Núñez-Regueiro Núñez-Regueiro 42-43 48-49 Hammer Hammer Chen Chen 48-49 *Cover photo: photo: Matel Matel Rokke Rokke Windfall Windfall *Cover *Cover photo: photo: Matel Matel Rokke Rokke Windfall Windfall *Cover

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Artists Spotlight Spotlight Artists Artists Spotlight Artists Spotlight Gallery Spotlight Spotlight Gallery Gallery Spotlight Gallery Spotlight Artist Interview Interview Artist Artist Interview Artist Interview Artist Spotlight Spotlight Artist Artist Spotlight Artist Spotlight Artist Spotlight Spotlight Artist Artist Spotlight Artist Spotlight

matelrokke.com matelrokke.com matelrokke.com matelrokke.com

Editors’ Notes Dear Readers, Welcome back to another issue of The Hand Magazine! It’s autumn in our part of the world, a paradoxical time of year in some ways. Deep greens turn to warmer hues, leaves fall, and the sun grows colder and more distant. Yet those of us in the teaching world – parents, students, and teachers – find a new year ahead of us, full of new possibilities and potential. New students, new instructors, new classes, new initiatives, fresh goals, exciting projects, and a sense of wary optimism pervades. It’s a little weird to start a New Year in late summer. But that’s what happens. We hope that if you are also in this situation, that your new year is off to a good start. Whether you’re an artist in school or not, we are excited to see what you are working on. We have two wonderful features and a few spotlighted artists that we are excited to introduce to you. For half a century, The Davidson Gallery in Seattle’s Pioneer Square has been a beacon for printmakers all over the world. At the moment, the galleries are for sale by owner Sam Davidson. We spoke with Davidson Gallery Manager Rebecca McDonald and Collections Manager, Paige McCray about the history and mission of the venerable gallery and what the future may bring. We also feature artworks by five artists represented by Davidson – Mio Asahi, Kevin Fletcher, Virginia Hungate-Hawk, Michèle Landsaat, and Charles Spitzack. This selection of artists just scratches the surface of what you can find in Davidson’s collections. There are artists from all over the world, at different stages of their careers, who work in every possible printmaking discipline and address an incredibly diverse range of subject matter and styles. In short, Davidson Gallery is a shining light in the printmaking world. If you don’t know about it already, you need to. Our second feature interview is with Los Angeles-based Chilean artist, Rodrigo Valenzuela. Rodrigo is known as a tireless worker, a reputation that must be deserved considering the immense number of group and solo exhibitions he has

Jason Sobottka

Moiré

Intaglio, relief, screen print and recycled grocery bags in layers of resin, on panel 10” x 8” x 3”

Adam Adam Finkelston Finkelston Multiply mode 61% transparency

Owner, Publisher, Publisher, Co-editor Co-editor Owner, adamfinkelston.com adamfinkelston.com

contributed to over the last decade. Rodrigo is the recipient of numerous residencies, honors, awards, and prizes. His work is in the collections of major museums such as the Whitney Museum of American Art, The Getty Museum, Museum of Fine Arts Houston, Los Angeles County Museum of Art, the Frye Art Museum in Seattle (this must be the Seattle issue. Rodrigo studied at U of Washington in Seattle and Evergreen State College in Olympia, WA.), and the Nelson-Atkins Museum of Art in Kansas City, to name only part of the list. Just go to his website and look at his CV. It’s impressive – and well-deserved. Visually, Valenzuela’s sculpture-based photographs and installations showcase his range of skills as a craftsman in concrete, metal, photography, and printmaking. The interview, like Rodrigo’s work, is complex and astute. The first of our three artist spotlights is on LA’s Lynk Collective. We did a feature on Lynk Collective in Issue 39, and we have featured art by several Lynk Collective members in numerous issues. They are always up to something interesting, though! The second artist spotlight is on Paloma Núñez-Regueiro’s installation, “Counted/ Uncounted: So You Know Us”, installed at the Saugatuck Center for the Arts in Saugatuck, Michigan. And our third spotlight is on Shanghai and Bristol, U.K.-based artist, Hammer Chen. Chen’s ability to describe light and space with ink and paper is spell-binding. We are so grateful to have the opportunity to bring these amazing artist’s work to you. Thank you for being here. And remember, the best way to support artists is to buy their art. Artists are hard workers and they bring light to our lives. Give yourself the gift of looking at and thinking about art every day. Here’s to the changing seasons and the constant rhythm forward. Cheers! - Adam and James

Jason Sobottka

Kaleidoscopic

Intaglio, relief, screen print, layered in resin, on panel 14” x 10”

James James Meara Meara

Co-editor, Lead Lead Designer Designer Co-editor, jamesemeara.com jamesemeara.com

The Hand: A Magazine for Reproduction- Based Art, (ISSN 2476-1427) is published quarterly in February, May, August, & November by The Hand Magazine LLC, 3950 W. 87th St., Prairie Village, KS, 66207. Application to mail at periodicals pricing is pending at Prairie Village, KS. POSTMASTER: Send address changes to: The Hand: A Magazine for Reproduction- Based Art, 3950 W. 87th Street, Prairie Village, KS. Copyright 2022, The Hand Magazine LLC. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the copyright owner. The copyright for each image / article is held by the credited author. All other materials are the exclusive copyright of The Hand Magazine LLC Statement of Ownership, management, and circulation required by 39 U.S.C. 3685. Title: The Hand Magazine LLC. Publication Number: 21320. Filing date: 9-20-23. Issue Frequency: Quarterly. Number of issue published annually: 4. Annual subscription price: $50 (USA), $60 (Canada and Mexico), $80 (Outside North America). Location of office of publication: 2812 W. 91st St., Leawood, KS, 66206. Location of business office of the publisher, editor, and managing editor: 2812 W. 91st St., Leawood, KS, 66206. Owner: Adam Finkelston. Known bondholders, mortgages, and other security holders: None. Extent and nature of circulation (first number gives average number of copies of each issue during the preceding 12 months; second number gives actual number of copies of single issue published nearest to filing date). Total number of copies: (725;700), Paid and/or requested circulation: Outside-county (500;496), In-county (0;0), Sales through dealers, carriers, street vendors, counter sales, and other paid distribution outside USPS: (0;0), Other: (0;0), Free distribution outside the mail: (0;0), Total free or nominal rate distribution: (0;0), total distribution: (700;673), Copies not distributed: (10;27), Total: (700;700), Percent paid: (100%;100%). Electronic-copy circulation: Paid electronic copies: (0;0), I certify that 50% of all my distributed copies (electronic and print) are paid above a nominal price. I certify that the statements made by me are true and complete. Adam Finkelston, Owner, publisher, and editor, 9-20-23

Jillian Adams, Strangers, Archival pigment inkjet print from medium format film, Size variable, jillianadamsphotography.com List of Artists

Pavel Acevedo – p. 6 Sophie Achilli – p. 7 Jillian Adams – This page Mio Asahi – p. 12 Samantha Barthelemy – p. 17 Lisa Beard – p. 16 Jill Bemis – p. 8 Ray Bidegain – p. 24 Corryn Birkeland – p. 23 Tyler Boley – p. 32 Vanessa Brici – p. 25 Mary Sherwood Brock – p. 19 Lisa Brussell – p. 34 Rosemary Burd – p. 47 Derrick Burbul – p. 52 Magaly Cantu – p. 38 Jayeeta Chatterjee – p. 44 Hammer Chen – pp. 48 and 49 Amy Cline – p. 50 Jacob Crook – p. 55 Dan Dakotas – p. 41 Davidson Galleries – pp. 10 through 15 Kirk Decker – p. 54 Terrence Decker – p. 16 Pritam Deuskar – pp. 18

Jay Euphoria – p. 16 Kevin Fletcher – p. 13 Cindy Waszak Geary – p. 34 Donna Gordon – p. 53 William Hays – p. 51 Virginia Hungate-Hawk – p. 14 Raluca Iancu – p. 51 Diana Nicholette Jeon – p. 38 Ryan Kalentkowski – p. 39 Michèle Landsaat – pp. 11 and 12 Andrew Levitsky – p. 21 Jaume Llorens – p. 9 Lynk Collective – pp. 4 & 5 Steven Mastroianni – 41 Ashley McElroy – Inside Back Cover Wayne Montecalvo – p. 40 Garry Noland – p. 35 Paloma Núñez Regueiro – pp. 42 and 43 Alicia Persaud – p. 46 Zoe Peterson – p. 40 Jay Phyfer – p. 52 Walt Polley – p. 41 Robert Poole – p. 53 Amanda Porter – p. 41 Liz Potter – p. 22

Robert Raines – p. 18 Rayastre – p. 45 Matel Rokke – Cover and p. 39 Jeffrey Sass – p. 19 Melanie Schoeniger – p. 33 Chloe Simma-Martin – p. 3 Weronika Siupka – p. 31 Christine O. Sobczak – Back Cover Jason Sobottka – Contents and Editor’s Notes Sally Sorenson – p. 51 Susan Spector – p. 51 Charles Spitzack – p. 15 Douglas Stockdale – p. 56 Rae Tayo – p. 20 Emilia Telese – p. 50 Ed Tepper – p. 47 Marcia G. Thompson – p. 32 Ana Tornel – p. 46 Tuyet Truster – p. 37 Spiffy Tumbleweed – p. 52 Rodrigo Valenzuela – pp. 26 through 31 Isabel Winson-Sagan – p. 56 Gretchen Woodman – p. 7 Ellie Young – p. 36

Chloe Simma-Martin When You’re Small Pt. 1

Silver gelatin print 14.5” x 10” csimmamartin.wixsite.com/photography

Artemisia’s Hidden Faces

The artists of Southern California’s Lynk Collective have been working on a series of collaborative drypoints paying homage to significant artists from the past, including Vincent van Gogh and Leonardo da Vinci. Their latest project, exhibited recently at The ARTery in Costa Mesa, California, references the Italian master Artemisia Gentileschi, who often used herself as a model for the figures in her dramatically-lit Baroque paintings. For this project, each participating Lynk Collective member created one or more drypoint plates based on a Gentileschi self-portrait, which they then printed in multiple layers on an etching press, one image superimposed on top of another. The work builds to a greater whole as ink responds to paper, and to the layers of ink below, and as the artists respond to their art-historical reference and to each other. Artists’ Instagram accounts: Yeansoo Aum @yeansoo.aum, Mary Sherwood Brock @studiosherwood, Andra Broekelschen @andrab5, Christina Yasmin Fesmire @christina_fesmire, Carole Gelker @carole_gelker, Bill Jaros @williamjaros, Nguyen Ly @nguyenly.printmaking, Jared Millar @journalduvoyeur, Marina Polic @marpol1357, Vera Polic-Lakhal @happylandshark, Francisco Rogido @finssocal, Olga Ryabtsova @o.ryabtsova, Paula Voss @paulavossart, Mila Vovk @milavovk.art, Zana Zupur @artstudiozana All images, 30.5” x 22.5”, 2023

Nis / La Memoria del Agua, Woodcut on Asuka paper, 55” x 45”

Queremos todo, para todos, Linocut on Arnhem paper, 12” x 12”

Fire Procession, Screenprint on Coventry paper, 20” x 26”

Maxu/ Greed, Woodcut on Asuka paper, 44” x 30”

Pável Acevedo

oaxacaprintmaker.com

Gretchen Woodman Placed

Woodblock print 36.5” x 38.5” instagram.com/gretchenwoodman

Canis Humanus

Virginia Speranza

Sophie Achilli

Three-dimensional cut out and collage from magazine pages with dry point etching background on oil pastel 33.5cm x 52.5cm x 6cm instagram.com/sophieachilli_art

Emily’s Rock Collection (Lincoln, NH)

Emily’s Rock Collection (The Monoliths)

Childhood Rock Collection (Bemis Brook)

Seth’s Rock Collection (Doane Rock)

Jill Bemis

Gelatin silver prints on expired paper 8” x 10” ea. jillianbemis.com

Dyptich #4, 18cm x 24cm

Dyptich #45, 24cm x 18cm

Dyptich #21, 24cm x 18cm

Dyptich #59, 24cm x 18cm

Jaume Llorens

Archival pigment inkjet prints jllorens.com

The HAND: Hi Rebecca! Thank you for speaking with us today about the Davidson Galleries. Can you introduce yourself and tell us what you do?

Davidson Gallery Manager: Rebecca McDonald

Over the last fifty years, Seattle’s Davidson Galleries has established itself as the region's largest print collection. As owner Sam Davidson gears up for retirement, he is actively searching for a successor to carry forward the gallery's legacy. Since its inception in 1973, the Pioneer Square art space has organized over 2,000 exhibitions and published books showcasing local artists like Virginia Hungate-Hawk, Michèle Landsaat, and Charles Spitzack, national artists such as California-based artist Kevin Fletcher, and international artists such as Japanese printmaker Mio Asahi. The gallery's commitment to discovering intriguing artists has taken its representatives worldwide in pursuit of compelling artworks. We speak with gallery manager Rebecca McDonald and collections manager Paige McCray about the galleries’ past, present, and future.

TH: As that first point of contact, do you have any guiding philosophy of collecting?

Do you have any sentimental favorites in the print world? I say “sentimental” because I would imagine that your “favorite printmaker” changes quite a bit! I guess what I’m asking is what prints or printmakers were important to your understanding of print or feeding your love of printmaking? ¡¢ ¡ £ ¤ ¥ ¡ ¡ £ ¤ ¥ How did the gallery start? Can you give us a little history lesson?

What is the mission of the gallery and how do you view your place in the arts ecosystem of Seattle and/ or the printmaking world at large? ¨

¦§ §

Michèle Landsaat There Are No Words Here, Drypoint

The gallery is now for sale, is that right? Is there anything you would like our readers to know about that? © ª Michèle Landsaat Unexpected Guests From The Alchemy of Love Drypoint

Mio Asahi

Mio Asahi Moonlit Night Flight, Intaglio

Mio Asahi Regular Ferry to the Moon, Intaglio

PAIGE MCCRAY Collections Manager

Kevin Fletcher Disused Dory Slip and Repairs Shed at Dusk Monotype

The HAND: Hi Paige! Can you tell us what you do as the collections manager? What are your duties at the gallery? What are your favorite aspects and most challenging aspects of your work? Paige McCray: Hello and thanks for having us! As the Collections Manager, I have a wide variety of responsibilities centered around our vast inventory of artworks on paper. I work with our contemporary artists in exhibition planning, artwork pricing, updating biographies, and more. I contribute to and track each artist’s gallery features to schedule their exhibitions and future promotions as it relates to their new work in process. I also oversee inventory organization and record keeping on our website, databases, and in the physical gallery. Plus I assist with research for our modern and antique collections. Overall, I keep track of the inventory we currently have at the gallery, have sold, are expecting to receive, or will be available from artists. Working with artists is one of the most rewarding and exciting tasks in my role. I am often among the ﬁrst people to see new work, to give feedback on the direction of a new series or discuss how a piece could be installed, for example. It’s such a privilege. I love contributing to the process of bringing their vision to life and telling the work’s story. The challenge is exhibitions are naturally quite diﬃcult to coordinate. Behind the scenes, I work hard to make sure my colleagues at the gallery have all of the information and materials that they need from the artist, manage tight deadlines, and likewise ensure the artist has all of their needs taken care of. I enjoy the challenge and am happy to look out for everyone.

Kevin Fletcher Suspended Wing Prototype, In Progress. No. 3 Monotype

TH: Can you describe what you consider to be the guiding principles behind the collection? What kinds of prints form the core of the collection and what has been the focus as you grow? PM: A collection is a living, growing entity, as you referenced! Each artist and piece that is added brings their own unique set of qualities. As Rebecca mentioned, Davidson Galleries has a vast collection that spans three departments - contemporary, modern, and antique. The gallery focuses on diversity and mastery. First we consider if an artist is a master of their printmaking technique, whether they create mokuhanga woodcuts, monoprints, wood engravings, mezzotints, etc. The artist roster ranges from renowned American artists of the 1950s, modern Japanese woodcut carvers, to contemporary collagraph printmakers based in the Paciﬁc Northwest. The artist could be any age, at any stage in their career, or of any nationality. The guiding principles are centered around how the work brings something unique and impressive to the collection, whether it’s the way it captures mist over an ocean view or a rare gaze in a portrait. Davidson Galleries often hosts contemporary invitational exhibitions that focus on a speciﬁc medium to share work from a variety of experts and innovators working in one technique. In this way, the gallery seeks out a multitude of voices all engaged in the same challenge.

Michèle Landsaat

Kevin Fletcher

Charles Spitzack

photo by Jeremiah Flyn

Can you tell us about the artists that we’ve featured in the article? Maybe just a little biography and some comments about their work. Mio Asahi Mio Asahi (Japanese, b. 1957) was born in Osaka in 1957. She studied Painting and Printmaking at Ritsumeikan University in Kyoto. She has exhibited extensively internationally and in the US. Asahi is known for her blend of western and eastern influences, working primarily in the western printmaking process of etching with aquatint while drawing from Japanese patterns, compositions, and symbols. She creates tales of dragons, flying fish, travelers, and women warriors interacting with mythical moons, waters, and clouds. With influences from folklore, tapestry design, and musical tradition, Asahi has developed a fantastical world of her own, told one image at a time. Kevin Fletcher Kevin Fletcher (American, b, 1956) was born in Cincinnati in 1956 and is based in Santa Rosa, California. He received his BFA in Printmaking and Graphic Design from Miami University in Ohio in 1978 and his MFA in Printmaking from Syracuse University in 1981. He has taught as a visiting artist at many institutions including the Pacific Northwest College of Art and San Jose State University, and has taught drawing, printmaking, watercolor, and art history at Santa Rosa Junior College for 30 years.

Virginia Hungate-Hawk Apparent Horizon, Intaglio

His work has been exhibited internationally and is held in many public collections, including the Library of Congress, University of Glasgow, and many others. Fletcher is known for his monotype prints that feature industrial ruins, abandoned waterfronts, and hints of life amongst the chaos. He emphasizes reductive techniques in the monotype medium to contrast light and dark with painterly strokes and complex compositions. Michèle Landsaat Michèle Landsaat (American / Pacific Northwest, b. 1968) was born in 1968 in Seattle and lived in Paris before returning to her native Seattle. She received a BA from the University of Washington and studied Illustration at the Society for Children’s Book Writers and Illustrators in Seattle. Although not traditionally trained in fine arts, Landsaat has learned from studying the many artists that inspire her and pursuing an artful life. Her main influences are French, Korean, and Japanese illustrators. Landsaat is known for her intricate, intimate etchings that feature women, animals, and other invented creatures. Her work offers a unique approach to storytelling and illustrating in a vulnerable and whimsical world.

Virginia Hungate-Hawk Yellow Gathering Series XII Intaglio

Charles Spitzack Charles Spitzack (American / Pacific Northwest, b. 1987) was born in 1987 in Minnesota and raised in the Twin Cities. He received a BFA with a focus in Print Arts and Drawing from Cornish College of the Arts in 2010, and teaches woodblock printmaking at Pratt Fine Arts Center to youth and adults. Spitzack is known for his bold, energetic, Mokuhanga-inspired woodblock prints of the human figure, animals, landscapes, urban scenes, and more. Drawing inspiration from daily life and his work as a carpenter, his art can be viewed as a response to the human condition, often focusing on communal aspirations, equality, labor rights, the plight of the working class, and other contemporary issues. His work has been shown extensively in the Pacific Northwest and internationally. Virginia Hungate-Hawk Virginia Hungate-Hawk (American, b. 1985) was born and raised in Seattle. She received a BA in Studio Art and Geography from Macalester College and a MFA in Printmaking from the University of Notre Dame. She has taught at museums and art centers around the Pacific Northwest including Pratt Fine Arts Center, Seattle Art Museum, Sitka Center for Art and Ecology, and Stadium High School. Her work has been exhibited nationally and internationally and is held in several private and public collections. Hungate-Hawk is known for her etchings that draw upon her background in geography and cartography to reference maps, space, and pattern. Her prints use small, abstract elements that accumulate into larger configurations and investigate natural and man-made divides.

Are there any other artists you are looking at right now? Artists you’d like to work with or whose work you personally admire? There are far too many to name! But to try, I’m often looking at the work of my friend and colleague, Nikki Jabbora-Barber. She’s currently making incredible large-scale woodcuts dealing with mixed-race identities, centuries of storytelling, womanhood, and involving more than 100 hours of carving per piece. Davidson Galleries used to share a gallery space with Koplin Del Rio Gallery (now based in Georgetown, Seattle) and I’ve always admired their artist roster. To name a few of their excellent artists, I’m thinking about Fred Stonehouse’s text, Stacey Rozich’s characters, Prinston Nnanna’s faces, and at least once a year I spend a few hours contemplating Robert Pruitt’s Black Cat. There are so many great artists making work in Seattle alone, I could go on for days but I’ll leave it there for now.

Charles Spitzack Preservation III, Woodcut

Virginia Hungate-Hawk

Charles Spitzack Progress is not Linear, Woodcut 15

Sea Song, 24” x 32”

Call Me The Breeze, 12” x 18”

Lisa Beard

Hand-coded photographs, archival pigment inkjet prints lisambeard.com

Jay Euphoria Blumuda

Archival pigment inkjet print (document of mixed media painting): Painting: Hand-poured paint, pigments, alcohol ink, epoxy resin, crystals and minerals of the earth on stretched canvas 24” x 48” linktr.ee/euphoriagallery

Terrance Decker Rio Grande River at Taos Bridge_2023 #3A Pigment transfer print 8” x 14”

Upper Mystic Lake at Dusk #4, Cyanotype, aquatint, and chine collé, 8.5” x 8”

Nothing There #5, Cyanotype, aquatint, and chine collé, 8.5” x 8”

La Femme Du Lac #2, Cyanotype, aquatint, and chine collé, 7” x 7”

Samantha Barthelemy La Femme Du Lac, Artist Book

Box: Asahi bookcloth, bamboo, Unruy paper, satin, 13” x 14” x 2” Book: Cyanotype, aquatint, and chine collé, 60” x 12” x 1.5” greywaterstudio.com

Pritam Deuskar Prayer

Plate lithography 12” x 18” instagram.com/deuskarpritam

Dragon’s Lair, 10” x 7.5”

Too Tall, 14” x 10.5” Robert Raines

Screenprints rraines.com

Time, Intaglio, collagraph, with chine collé, 30” x 22”

Home, Intaglio, monotype, screenprint, and chine collé, 30” x 22” Mary Sherwood Brock studiosherwood.com

Jeffrey Sass Self Portraits #5 (L) and #7 (R), from the series, “Katastrophe” Silver gelatin prints, cyanotype, and ink on painted canvas panels 14” x 11” ea. instagram.com/jeffreysassartist

Burning Landscape, Monotype, intaglio collage on wood panel, 28” x 21”

Inner Reality of An Outer Avalanche, Monotype collage on wood panel, 28” x 16.5”

Rae Tayo raetayo.com

Dukedom Day

Dukedom Night

Andrew Levitsky From the series, “Quranta” Intaglio 58cm x 43.5cm instagram.com/andrewlevitsky

Desert Dust

Heat Wave

Monsoon Clouds

Painted Agave

Land and Sky Liz Potter

Black and white Polaroid emulsion lifts embellished with photo oils 10” x 10” ea. lizpotterphotography.com

Nebraska No. 005

Nebraska No. 001 Corryn Birkeland

Silver gelatin prints with Polaroid “Reclaimed Blue Edition” transfers 11” x 14” ea. corrynbirkeland.com

Danielle, Wet plate collodion ambrotype, 7” x 5”

Maya In The Woods, Photogravure, 7” x 5” Ray Bidegain

cascabelpress.com

Fragment, Etching, 39.8cm x 50.3cm

Lethe, Etching, 39cm x 29cm

Mining Brands Board, Etching with aquatint, 63.6cm x 49.3cm

Strange Light, Etching, 48.6cm x 37.8cm

Weronika Siupka

siupka.webserwer.pl/strona-siupka/

Rodrigo Valenzuela A multi-disciplinary artist working in photography, sculpture, installation, and video, Rodrigo Valenzuela explores themes of labor and how it relates to industrial and post-industrial communities. He constructs intricate scenes using urban debris from scrap yards, including cinder blocks, pipes, wooden palettes, corrugated metal, and two-by-fours, which he photographs in large-scale black and white. These photos resemble miniature ruins, evoking feelings of familiarity and distance while alluding to abandonment, alienation, and displacement. The compositions draw inspiration from aspects of Modernism, occasionally reminiscent of American Abstract-Expressionist painting or Latin American Brutalist architecture.

Your artist statement describes your work as having to do with the connections between individuals, communities, and the subjective vs. the political. I’m paraphrasing, so I hope I boiled that down fairly well! Is there a specific incident that encouraged you to make this kind of work? You mentioned autobiography as well. Can you describe what the roots of your work are? Recently an American friend asked me how is that so many artists from Chile make political art. I understood this question as a remark on the dissident aesthetic and human rights focus of many Chilean artists since the 1970s. I replied by telling him I grew up during Augusto Pinochet's dictatorship and the transition to democracy. Experiencing the social uprising and political strategies of the press, television, and music industry made me aware of the politics of representation from a young age. I saw a divided country where political inclinations could condition your income and well-being. Subscribing to the right-wing party could make a career. My father, a leftist, worked as a union organizer and mailman for over fifty years, and my mother as a clerk in a retail store.

Due to their examples, I developed a moral imperative to align myself with the working class. I was aware that my heroes, Gabrielle Mistral and Pablo Neruda, came from a similar economic class. Neruda's mother was a maid, and Mistral worked an elementary school teacher. As a boy, the only internationally known cultural producers were Chilean poets. Books, movies, art, and technology moved in and out of Chile slowly and sporadically. These poets set an example for me. I believed I could move beyond my homeland's limitations through intellect and poetic gestures.

Are you interested in exploring those kinds of gestures in American culture or investigating American politics? Is your work specific to Chile? Yes, very much, as I did most of my education and career here, and most of my students are American-born. It is always worth asking what is American about American art. I have made art/lived in Boston, Olympia, Seattle, Houston, and Los Angeles; those are at least four very different Americas. Investigating the consciousness of place-making, regional identity, and the working class in the USA is foundational for my practice; I searched for answers by contrasting it with my understanding of the same issues based on my experience as a Latin American person. Chile's specificity and political issues cannot be divorced by the CIA, Henry Kissinger, and imperialist politics. A small town in Georgia (Fort Moore) is the home of the School of the Americas, a place responsible for training most of the military dictators in Latin America during the 60s, 70s, and 80s.

Throughout archive images, magazines, and films, I focus on the network of cultural producers in Chile, Argentina, Peru, and Colombia as an antithesis to Condor’s oppressive network of imperialist CIA-sponsored powers that nearly destroyed Latin America’s democracies in less than a decade. The late 70s and mid-80s have a unique importance for my project to build a parallel between similar socio-economical and geo-political conditions to our preset (coming out of an unjustified war, high inflation, gas shortages, and an ideological battle with Russia, to name a few of the analogous events). I am trying to point out that in an ego-driven society, influence almost exclusively takes the form of Tik-Tokers, YouTubers, and tweeter’s one-liners. Punk, theater troops, and artist collectives are more necessary than ever. Lastly, my project tries to understand how our cultural responses can be so dissimilar under similar conditions. Part of my research is also a critique of the 90s and 00s embrace of neoliberalism, mass production, and faux faith in internet connectivity.

My new series, for example, addresses this issue by looking at Latin American subcultures and the music scene during the dictatorship years, especially in the aftermath of Operation Condor.

Hedonic Reversal #3 Archival Pigment Print

Future Ruins Installation view at the Frye Museum

Stature #4 Photogravure Stature #8 Photogravure

Your work incorporates landscape, portraiture, tableaux, installation, and video. Can you talk a little about the methods you use and how you decide to work in a particular medium for a particular project? The medium is too definitive to consider when deciding on any project. The final form is just a carrier that facilitates the reading of the work; what I mean by this is that the particular history of each medium only aids the reading of the works, but before that, there are many more considerations. For instance, when I am making a landscaping piece with photocopies, I am thinking about the desert as a state of mind, as a place of desire, and about all the depiction of the American West and its connection with Manifest Destiny. I am also thinking about all the paperwork I had to do to become part of this country. To me, photocopies are the material of bureaucracy and the best way to represent these landscapes. Another example of the same thought process is my 2017 solo exhibition, Work in its Place at the Jordan Schnitzer Museum at the University of Oregon. I used a past exhibition's temporary walls to create a wooden structure to contain and conceal my selections from the museum's permanent collection, which heavily emphasizes Western landscapes and depictions of Manifest Destiny. I mounted my work on the outside of the structure and placed the permanent collection inside, having the collection only visible through the gaps between my works. I wanted to create an installation that made direct reference, metaphorically and physically, to issues of protagonism within art discourses. It is always a balance of my skills, budget, research, personal experiences, historical use of the materials and the history of their depiction.

Journeyman Installation view at Klowdenman Gallery, LA In a previous interview you mentioned that the more you make art, the more you think about your art presenting solutions. But your work is also, again in your words, “a departure” for thinking about labor, work, imperialism, and capitalism. What kinds of solutions are you interested in? Or am I taking that too literally. I guess, I’m asking what you want your work to do for you and the viewer. With solutions, I meant that your work has to a proposition, even if it fails. The images have to pose the question, “What else can you think of when you think about X?” This question is essential to me. If I want to address labor issues and/or my journey, and I take pictures of construction workers asking for work outside of Home Depot (as I did years ago), it would be very dull work. Probably it would be very popular work, but not a proposition. Right now, I am working on a museum of gestures. I wish there would be a place to learn from our bodies' shapes and forms in times of oppression. The photographs evoke something between a museum and a performing stage. The idea is to subvert the ideology attached to the museum as a place of canonized beauty and information for a more egalitarian and sensitive place of popular knowledge or bodily wisdom. The new series is called, “Garabatos”. The title can be translated to, “Scrawl”. However, colloquially, a ‘Garabato’ is also an insult screamed on the streets or stadiums in Chile. I am interested in abstract gestures that are part of the collective lexicon, a desperate attempt to communicate, a motion of desire or a class code. Insults belong to subcultures and are an intricate part of national identity; an insult is an amalgamation of pop culture, class, and geography, making it rich and particular. It is interesting to analyze the guttural social responses to unfairness and anger.

Sin Heroes Installation

Valenzuela’s Studio

How has your work in construction impacted your art? Looking at some of your most recent installations, they remind me of home builds and the pieces themselves have a very architectural aspect to them. Has that also shaped your interaction or the viewer’s interaction with the work? Working in construction has mostly influence me in using concrete or wood, but only because I am comfortable in knowing how to use it. Also, because then I can work faster. That allows me to, for example, make a lot of sculptures in concrete and finish them in the way that I know concrete will behave. Knowing one component of the work will allow me to experiment with other components. For the series, “Stature”, I was really thinking about architecture in Latin America through dictatorships. In my jokey, conspiracy theory mind I was thinking of Modernism and Brutalism were happening at the time when a lot of dictatorships were happening. So, I was looking at architecture of that time as a Trojan Horse of Imperialism. All of those buildings were made of concrete. I made the sculptures with a material I know well so I could experiment with something like photogravure. I wanted to feel the weight. I wanted the prints to feel heavy. I am always curious what artist’s studio practice looks like because to me, it gives me some insight into the energy that is present in the making of the work. Do you prefer a quiet workspace or is there loud music playing, podcasts? How do you think that energy makes its way into the work? Very messy with NPR playing most of the time

You are currently an associate professor at UCLA. Do you have any particular philosophy behind how you teach? Is teaching an important part of your artistic practice? There are chronological moments and emotional moments to that answer. When I got the job, I was super young and broke, so it was very nice to have some stability. It really changed my outlook. It was also very validating. I had been experimenting, making work, and getting a job in a prestigious institution really gave me confidence. Until then, I had been having shows in small university galleries and stuff like that. Not making a big splash, but I was confident I was building a big portfolio. Getting the job really gave me a confidence boost. But it also gave me a salary that I can see things through and develop long-term projects. Now, outside of work I am researching in the winter, shooting in the fall. Now I am not running against the clock as much. I can buy myself time and resources because UCLA has a lot of resources for me to expand my work. But that is just one thing. Because it’s a research university and the rest of the faculty are so supportive with your research, I get to experiment with what I’m trying to learn. I use the teaching to research, to polish my knowledge, and to get feedback, bounce ideas around. As a student, I could not have gotten into UCLA, so I know these people are really smart. I can go to discuss texts and get new ideas just by workshopping it with the students. I has changed the way I work because not only do I have money in the bank to buy materials, experiment, and use the machines, I also have access to very energetic minds that I come to work with. It gives me a lot of energy. Because I have a lot of doubts about how to be an artist, I think teaching how to research and how to be motivated has been very beneficial in my life. I like to share my doubts with the students.

Garabato #8 (top left) Garabato #11 (top right) Garabato #10 (bottom left) *All images are archival pigment prints

Is it important to you that viewers understand the social and political context of your work? How much do you expect a viewer to be able to engage with that? The quick answer would be it doesn’t matter. But I would like it to matter. These things are very important to me. It’s the same in a way that painters do an under painting that no one sees. Or when you cook, you might put the chicken in the brine for 24 hours… little things you do create the feelings and the sensation, and also the confidence that you are doing the steps correctly. All of the politics and the social context of the work is there and hopefully goes through or has the aroma of that political context. So hopefully the viewer awakens through the image’s beauty or composition and it can be an engaging image and the viewer has the desire to know more.

When I make a work it’s an exercise in restraint where you have to not say it all but say enough so people want to know more. It’s very common when you are younger to want to put it all in and make sure that the ideas are clear. But there is something to say about paucity. A lot of times clarity is not directness. Things can be so clear that you don’t want to know more, in the same way that things can be too beautiful, and you don’t want to be more engaged. A lot of designers suffer from that. Things are so sleek and beautiful, but you are not questioning if it means more than that. You have to weave a little bit of the aesthetic needs, playfulness, and not knowing. A lot of times the social research behind the work has to do with giving me confidence to explore the possibilities of this image not necessarily to educate. But if the image is interesting, hopefully the viewers interest in the political and social aspects is also there. But failing gracefully is also a part of the art.

Garabato #6 (top left) Garabato #4 (top right) Garabato #5 (bottom left) Garabato #1 (bottom middle) *All images are archival pigment prints

Your work is not obviously political, at least not at first glance. You are pulling the viewer in with the aesthetic qualities of the work in order to make them curious or ask questions. Maybe the titles have a role in that? Another thing to consider is that the way photographers work you have fifteen images, ten images, eight images, right? So, you get some time to develop that need in people to know more. If I wanted to make one image like some sculptors might only get to make one big bronze sculpture– because of the materials or money or whatever – then that has to say enough. It becomes a big signifier of your practice.

In the case of the “Afterwork” series and “Weapons” series, I have twenty-three photos for “Afterworks” and maybe thirty images for “Weapons”. Some of them are eight feet by five feet, so… massive images. And some of them are very small. I could play with the scale so that you feel with your body what I’m trying to say. There is enough distance between the works, the meaning and the rhythm of the work, you can build the message slowly. If you have to build that with one, two or even three paintings, it would be very hard. When you start to look for beauty or something that interests you, through the techniques you are learning something. Through mistakes, discovery is happening. You have to give yourself time through the images. Also, through photography’s relationship to reality, people want to read the images more. With print media, people come with the question of, “what is this about?” That was a problem for a long time, at least for photographers, because things need to mean something. So, each photograph doesn’t mean something, but the whole show hopefully does. For more on Valenzuela’s work, visit: www.rodrigovalenzuela.com

Have You Tried Eating Crow?

Seems Fishy

Marcia G. Thompson

Linoleum and monotype prints on printed vintage textile with collage 19” x 23” ea. instagram.com/artbymthompson

Vernazza IT 1

Lucca IT 38

Tyler Boley

Custom Piezography inks on handmade Japanese paper 9.5” x 10.75” tylerboley.com

Beyond Duality #05

Beyond Duality #01

Beyond Duality #03

Beyond Duality #04 Melanie Schoeniger

Epson Eco inkjet prints on rice paper, backed with silver, waxed with coconut beeswax 13cm x 10cm ea. ma-vida.com

River Rapids (Pigeon River, Waynesville, NC)

Poppy Fields of Fehmarn Island (Fehmarn, Germany)

Photograph printed on pieces of natural-dyed cotton and silk sewn together 18” x 48”

Photograph printed on pieces of natural-dyed cotton sewn together 24” x 30”

Cindy Waszak Geary cindywaszakgeary.com

Winter Log

Naked Trees Lisa Brussell

Gum over cyanotype prints 8” x 11” ea. instagram.com/lisabrussell

Apricots and Japanese Plums (After Else Bostelman), 9” x 6.5”

Fruit Painting (After Else Bostelman), 9” x 6.5”

Peach Painting (After Else Bostelman), 9” x 6.5”

Fashion, 6.5” x 5” Garry Noland

*Photos by EG Schempf

Collage, decollage, transfer printing on National Geographic pages garrynolandart.com/home.html

Feste

Opaltype (four-color transfer on white opal) 10” x 10”

Archee

Opaltype (four-color transfer on white opal) 10” x 9”

La Jardiniere

Orotone (four-color carbon transfer on glass with silver on reverse) 10” x 10”

Lucietia The Tumbler

Opaltype (four-color transfer on white opal) 10” x 9”

Ellie Young

goldstreetstudios.com.au

Holgate Glacier

Wonder Lake

Aialik Glacier

Homer Spit Tuyet Truster Polaroids 4.2” x 3.5 ea tuyettruster.com

No. 10

No. 7 Diana Nicholette Jeon It’s Like Swimming in the Ocean at Midnight in the Dark Digital media, archival pigment inkjet prints 45” x 45” ea. diananicholettejeon.com

Wedges, Stone lithography, chine collé, monotype, collage, 10” x 12”

While I Clog The Drain, Stone lithography, 8.5” x 7.25”

Magaly Cantú

instagram.com/magalycantuprints

Navigator & The Jingle-jangle Dusk

Glider In The Otherworld Ryan Kalentkowski

Woodcut prints and watercolor on paper 11” x 9” ea. sternapress.com

Windfall, 19” x 13”

Matel Rokke

3-color cyanotype and SolarFast prints matelrokke.com

Silent Scream, 10” x 8” 39

Zoe Peterson Untitled

Etching with serigraphy 7” x 12” zoe-peterson.com

Wayne Montecalvo The Bridge

Mixed media: digital images, India ink, Sharpie, acrylic paint, pencil, collage on glass 12.5” x 20” waynemontecalvo.com

Steven Mastroianni Comma-tosis Series #13 (diptych) Cyanotype, unique photogram 60” x 80” (total for both panels) stevenmastroianni.com

Amanda Porter Dissonance

Cyanotype on fabric 10” x 8” unaccustomedbeauty.com

Walt Polley Chocolate Sampler

Classic cyanotype 10” x 10” flickr.com/photos/walt_polley

Dan Dakotas Kenyan Dreams

Bio-printing over cyanotype 10” x 8”

Staying Put For Too Long, Linoleum print, 24” x 18”

Adoration, Linoleum print, 24” x 18”

Loud and Clear, Linoleum print, 24” x 18”

Paloma Núñez-Regueiro Counted/ Uncounted: So You Know Us

Installation at Saugatuck Center for the Arts, Saugatuck, Michigan. Summer 2023

Minorities are different in many distinct ways, and many times people with majoritarian privilege often do not know how to approach us. Their misgivings can give way to everything from uncomfortable experiences, microaggressions, physical aggression, to violent crimes that stay with us for the rest of our lives. The participants in this installation bravely lent me their likeness and their stories to be shared with the world. These snippets of day-to-day life, put together in image and a voice recording of their experiences in this installation, create awareness of the difficult moments we navigate as minorities, and propose a change in attitude toward us. I create these prints from a place of love. Carving these portraits is a ritual of prayer and light, of making intentions for their well being and the life ahead of them. palomanr.com

Cycle of Life 1 (front)

Cycle of Life 2

Woodcut print on three layers, recycled sarees with borders 96” x 48”

Woodcut print on three layers, recycled sarees with borders Nakshi Kantha (stitching) 96” x 48”

Antarmahal, Woodcut and toning on canvas, 48” x 144”

Our Space and Their Space, Woodcut on cloth, 46” x 192” 44

Jayeeta Chatterjee

instagram.com/jayeeta_chatterjee_art

Intérieur Lucide 2

Intérieur Lucide 1

See Or Visualize With Eyes Transcendental 1

See Or Visualize With Eyes Transcendental 3

Rayastre

Collages of water transfer prints 3.93” x 3.93” ea. rayastre.org

See Or Visualize With Eyes Transcendental 2 45

Ana Tornel #Speakoutsilencehurts, from the series, “Shine Again” Wet plate collodion on aluminum plate with gold leaf 24cm x 18cm anatornel.com/en/home

Alicia Persaud Phases

Screenprint on marbled paper 11” x 8.5” aliciaCpersaud.com

Rosemary Burd 9:04 PM #7

iPhone photograph printed on rag paper, embroidered with silk thread 8.5” x 8.5” instagram.com/rosemaryburd.art

Flight, 12” x 12” Emergence of Eve, 12” x 9” Ed Tepper

Encaustic photo collages EdTepperPhotoArt.com

HAMMER CHEN hammerchen.com

On The Way, Photopolymer gravure with copper-plate etching, 31cm x 39cm

Nowhere to Nowhere, Photopolymer gravure and watercolor, 54cm x 72cm

Transmition, Copper plate photo-etching, 29cm x 40cm

Transmition of Light, Photopolymer gravure, 54cm x 72cm

A Pair, Copper plate photogravure, 19cm x 23cm

Between Us, Copper plate photo-etchign and drypoint, 28cm x 38cm

The Self, Photopolymer gravure and copper plate etching, 21cm x 28cm

Transition III, Photopolymer gravure and chine collé, 72cm x 54cm

Transition II, Photopolymer gravure and chine collé, 72cm x 54cm

Amy A. Cline Emergence

Linoleum relief print 10” x 8” amyclineart.my.canva.site

At The Window, Intaglio etching on recycled tetra-pak (polylaminate), 35cm x 41cm

In Conversation, Intaglio etching on recycled tetra-pak (polylaminate), 17cm x 20cm

Emilia Telese 50

emiliatelese.com

William H. Hays In For The Night

Sally Sorenson Phone Mother

Susan Spector Homeland Odessa Ukraine

Raluca Iancu Overpasses (1.3)

Linocut print 12” x 9” theartistsloft.com

Monoprint 30” x 22” linktr.ee/susanspectorart

Etching 7” x 5” sally-sorenson.com

Mokuhanga 46cm x 32cm ralu.ca

Jay Phyfer Land’s End Hatteras

Inkjet print from scanned infrared film negative 18” x 20” instagram.com/jaybirdp

Spiffy Tumbleweed Red Capitol

Silver gelatin mordançage print 7.93” x 10”

Derrick Burbul Iowa Grain Bins

Silver gelatin prints toned (top to bottom: sepia, selenium, gold), framed in hackberry and walnut 21” x 16” flickr.com/photos/43615550@N05/

Donna Gordon Self-portrait

Image transfer, photo with InkAid and Transferize 12” x 9” donnasgordon.com/visual-art-1

Robert Poole Sleeping Pears

Platinum-palladium print 18cm x 21cm robertpoolecamerawork.com

Glossary of Processes Albumen print - Albumen is egg white. This type of print is similar to a salted paper print, but with the silver nitrate-based emulsion infused into an egg white solution. This technique yields a smoother, shinier surface than silver nitrate alone. Ambrotype - See “wet plate collodion”. Anthotype - Anthotypes use emulsions made from plants combined with distilled water or alcohol. The plant is pulped by hand or using a small blender, strained, then coated onto the paper. A transparent positive is placed over the image and exposed to the sun. All kinds of plants can be used, and exposure times can vary from several days to several weeks. They are not permanent but they can be somewhat preserved using a UV-resistant resin. Aquatint - An intaglio printing process using a fine dust-like particle as a resist so that when the plate is etched, a fine texture is created on the plate. Archival pigment inkjet print- A digital print using pigmented ink laid down on a surface using an inkjet printer with nozzles. The most common type of digital print for exhibition. Also called, “inkjet print”, “giclée, and ”pigment print”. Bio-printing - Also called Ecoprinting. Bio (or Eco) is a natural dying process that involves transferrign the dyes from organic materials such as leaves, flowers, etc. onto paper or cloth. The organic material is placed in contact with the printing substrate and boiled or steamed along with copper or iron and other mordanting chemicals. Carbon transfer print - A photographic proces using a series of pigment-impregnated carbon tissue sheets. The image is printed in CMYK separations on corresponding sheets of the same colors. The exposed sheets are then rinsed and transferred onto another substrate. Chemigram - A variation on silver gelatin printing in which the artist uses various resists and selective application of developer and fixer to create images. Chine-collé - A printmaking process using tissue or thin paper between the ink layer and the main substrate. Usually used in etching but can be used with other printmaking processes. Collagraph - A printmaking technique that involves collaging various materials onto a hard plate in order to create a variety of shapes and textures. The collaged plate is covered in shellac and inked up. It can be printed either as an intaglio or relief plate. Cyanotype- Also called a “blue print”. A contact printed photographic process using ferric ammonium citrate and potassium ferricyanide to create an iron-based emulsion. The emulsion is applied by hand to paper and exposed using a transparent negative to UV light. The UV light reacts with the iron to create a blue print. The print can be toned using tannic acid or a number of other substances. Daguerreotype - The first commercially successful photographic technique. The Daguerreotype, invented in 1837 by Luis-Jacques-Mandé Daguerre, used a highly polished silver-plated copper sheet coated in iodine. The image was exposed in the camera, developed out in mercury vapor, and rinsed in a saline solution for permanence. Each plate is unique. Drypoint - An intaglio printmaking process that is simply direct etching by hand onto a plate using a sharp utensil. The etched lines are inked and transferedto paper using a press. Engraving- A printmaking term used to describe an intaglio process by which the artist makes marks directly on the plate by hand, as with a needle, burin, rocker, or other tool. Etching- An intaglio printmaking process that uses a strong acid to cut into unprotected areas of a metal plate. The plate is coated with ink and wiped off to leave ink in the cut areas of the plate. The plate is then passed through a printing press and the image transferred to paper. Evolon - A brand of papers and fabrics that are made of synthetic material (polyester and nylon). Frottage - French for, “rubbing”. Giclee print - “Giclee” is French for “to spray”. A “giclee print” is simply a digital print made with a high quality inkjet printer. See “archival pigment inkjet print”. Gum Bichromate - Or, “gum printing”. A contact printed photographic process using gum arabic mixed with pigment (usually watercolor pigments) and light- sensitive dichromates (usually ammonium or potassium). The emulsion is coated on the paper and exposed to negatives under UV light. Multiple colors can be built up using different pigments. Negatives are color balanced to accommodate these different colors.

Image transfer- Any of a number of techniques for transferring an image from one substrate to another. Usually from an archival pigment print made on a transparency, then transferred using alcohol gel (hand sanitizer), Mod Podge, or some other binder or solvent. There are a number of techniques for different surfaces and original print types. Intaglio- A printmaking term used to describe processes that involve ink settling into a cut or etched area of a plate; in essence, the opposite of relief. See “engraving”, “etching”, “mezzotint”. Kallitype - A photographic contact printing process using a sensitizer made from ferric oxalate and silver nitrate. The tonal range can vary from sepia, to reddish-brown, to cool black tones depending on the type of developer being used. Kallitype prints are often toned with platinum, palladium, or gold to achieve even deeper, richer tones and to enhance permanence. Kitchen Lithography - A variation of lithography that uses aluminum foil as a plate and Coca Cola as the etchant. See “Lithograph” Lenticular print - A print that uses two images cut into very thin strips. The strips from each image are recombined in alternating pattern so that when a lenticular lens (the kind that makes a “zip zip” noise when you run your fingernail on it) is place oon top, the image can appear to animate or alternate between the two images. Linocut - A relief printing technique that uses a linoleum block instead of wood. Lithograph- A printmaking process that uses a block of stone as a plate. An image is applied to the stone using wax or oil- based crayons. After the image is applied, the stone is treated with an acid and gum arabic mixture. The stone is then rolled with ink, however, the acid/ gum arabic mixture allows the parts of the stone not covered in wax to repel the oil- based ink, thus leaving the ink only on the original drawing. There are many versions of lithography that do not use a stone, but use the same basic, “oil and water don’t mix” concept. Lith print - A variation of silver gelatin print using a special “lith” developer. The developer generally works more slowly than traditional developer and creates a wide variety of effects depending on the type of paper, the temperature and age of the developer, and the chemical components of the developer being used. It has nothing to do with lithography in printmaking. Lumen print - A variation of the photogram typically, but not necessarily, using expired paper. The print is laid in UV light - usually the sun - for an extended period of time allowing the silver in the paper to react to the UV light. Various papers give a wide range of resulting colors depending on the state of the chemistry. Mezzotint - A kind of intaglio print that uses an etched plate and a rocking tool to work the plate from dark to light, rather than the other way around, which is more common. It is very labor intensive and requires many hours of building up layers of tone. Mokuhanga - Japanese for wood (moku) print (hanga), using multiple wood blocks, each printed with a different color of water-based ink Monoprint- A printmaking term for a one- off print. Similar to a monotype; the distinction being that a monoprint is taken from a plate that includes some features, i.e. etched or engraved areas, while a monotype is taken from a plate that is completely featureless. Monotype- A printmaking term for a one- off print. There are many different ways to create a monotype, but essentially an image is applied to a clean plate- usually copper or zinc, but possibly Plexiglass or even thin Mylar or acetate - and then transferred to another surface via a press or hand- pressed technique. The term could also be used to refer to any one- ofa kind image made with a printmaking technique.

Kirk Decker, Leather and Lace, Photography - stereo pair, 3.5” x 7”, kirkdecker.com

Mordançage- A silver gelatin print technique that uses a chemical combination to detach the silver from the substrate, allowing the artist to arrange the silver and create veils and other effects Opaltype - A photograph printed on a sheet of opal using the carbon transfer process. See “carbon transfer”. Orotone - A photograph on glass backed with gold leaf. Photogram- A photographic print made by placing an object or objects directly on a light sensitive substrate, exposing directly to light, developing and fixing. The result is a kind of “reversed shadow” of the object. The technique can be used with many different paper processes and in combination with negatives. Photogravure - A traditional photogravure is done on a metal plate. A sheet of carbon tissue is used in between the plate and a phototransparency. The image is exposed, creating a carbon-based image on the plate that can be etched in acid like a traditional etching. The plate is then inked an printed. In contemporary practice, a photopolymer print (see below) is often called a “photogravure”. Photopolymer etching / photo intaglio - Similar to a photogravure, except the image is transfered onto a thin metal plate coated with a light-sensitive polymer. The plate is exposed to UV with a transparency, with the polymer hardening where light hits it. The plate is then etched using regular water, which washes away the unexposed- and hence softer- polymer. After hardening in another UV exposure, the plate can be inked and printed liek any intaglio plate. Photographic Transfer - One of several different methods for getting a photograph off one subsctrate onto another. Most digital variations involve some kind of solvent that breaks down the pigments in a print, allowing them to be transferred by pressure to another surface. Other analog methods involve detaching the image from its original substrate by heat or chemical action, removing it, and then transferring it to another substrate. Mordançage and integral film lifts are examples of analog film transfers. Photo intaglio - Another name for “photopolymer gravure” or “photogravure”. Photo lithograph - Or “photolithography”, uses a photosensitive aluminum or zinc plate. The image is printed onto a transparency and then exposed to the plate much like any other photographic contact printing technique. After exposure the plate is developed in water, removing the unexposed photosensitive film. The remaining image can be inked up and printed in the same manner as a traditional lithographic stone. See “Lithograph” Phytogram - Similar to a lumen print, except on film instead of paper. Another difference between phytograms and lumen prints is that often the film will be printed with leaves or other organic material soaked in a solution of washing soda and vitamin C. The soaked objects are placed on the film (which gets exposed in the process), layed out in the sun for several minutes or hours, then fixed. The resulting film image can be printed in an enlarger or, if the film is large format, used as a contact negative, among other creative applications. Plate lithography - Lithograph made from an aluminum plate rather than a stone. The image can be put on the plate by hand or by using a photographic process. Platinum/ palladium print- A photographic process using platinum(II) and palladium in combination with ferric oxalate to create the emulsion. After sensitizing the paper, a UV exposure is made by contact printing with a negative. The exposed print is then developed in ammonium citrate, fixed, and rinsed. As platinum gives more contrast and palladium adds warmer tone, the proprtion of platinum to palladium in the sensitizing solution can give varying results. The process is considered to give the widest tange of tones of any contact printing process. Prints can also be toned to give further variants. Also called, “platinotype”, “palladium print” or “platinum print”, depending on the predominance of one metal over the other. Reduction print - A relief print that uses one block (woodblock or linoleum) to create a multicolored print. With each successive color, the artist carves away or reduces the amount of surfacce space that gets inked. Relief - A printmaking term used to describe processes that involve ink remaining on the raised surface of the print; in essence, the opposite of intaglio. See. “woodblock”. Sabattier print - Sabattier is also known as solarizing. It is an alternative developing process used with silver gelatin prints in which the print is partially developed, the re-exposed during development to create a partial reversal of tones. The defining feature are white lines called Sabattier lines that create a glow or electric effect where shadows and highlights meet. Salt print (or “Salted paper print”) - A very early type of print - actually, the first to be used to print a photographic negative - invented by William Henry Fox Talbot in 1839. Paper is first coated with a salt water solution and then with a solution of silver nitrate to create a light sensitive emulsion. The paper is exposed and developed in another salt water bath before being fixed in sodium thiosulfate. Screen monoprint - A printing process in which ink is layed down on a screen and pushed through the voids using a clear gel medium. You can use marker, water colors, inks, and even pastels. Simply draw the design on the screen and use the gel medium to push the ink through the screen onto your substrate. Screen print- Also called a silkscreen or serigraph. A planographic printmaking process that often uses light-sensitive emulsion to create an image on a screen mesh. The sensitized screen is exposed with a positive image to UV light, which hardens the emulsion in specific areas. The unhardened emulsion is washed out, leaving those areas of the screen open. Ink can then be pushed through the open parts of the screen to print the image. Screenprinting is often done without any photographic emulsion and simply using screen filler, tape, or other adhesives to block areas of the screen that will not have ink. Serigraph - See “screen print”. Silkscreen - See “screen print”. Many screens used in screen printing don’t actually use silk as the screen matierial. A “silk screen” implies that silk is used, and that the silk helps the printer achieve greater detail. Silver gelatin print- A photographic print using a paper coated with silver nitrate suspended in gelatin as an emulsion. This type of paper is more sensitive to light than other hand- coated emulsions, giving the artist the ability to use an enlarger to create enlarged positive prints of negatives. Also sometimes called, “Gelatin silver”. Also see “Lith print” and “Mordançage” Stone Lithography - (see “Lithography”). With so many other versions of the lithographic process, many printmakers specify that their prints are truly made using a “stone” or “litho”-graph. SolarFast™ - From Jacquard Products, SolarFast is similar to cyanotype, except that it comes in several colors and is dye-based as opposed to metal-based. The emulsion is made for use on fabric, but can also be used on paper. Toner transfer - An image transfer process using a laser printed image made with carbon or plastic-based toner. The toner can be transferred to another surface using a number of varieties of solvents such as acetone or wintergreen oil. The transfer can also be created by using Mod Podge or acrylic medium to adhere the toner-based image to a substrate, waiting until it is dry, and then using water to rub the paper backing off, leaving the toner (and hence the image) still stuck to the substrate. Van Dyke print - A photograph that uses a solution of both iron (ferric ammonium citrate) and silver (silver nitrate). The image is contact printed with UV light, developed out in water, and fixed. Wet plate collodion- A photographic process that uses collodion as a substrate to accept silver nitrate, thus sensitizing the plate. The plate is placed into a camera, and the plate is exposed, developed and fixed while the silver/ collodion emulsion is still wet. There are three main types of wet plate collodion plates: 1) An ambrotype is a positive image made on glass. The image is backed using some type of black substance- ink, asphaltum, or black fabric, for example. 2) A glass negative can be made and then contact printed using a wide variety of hand- coated photographic processes, traditionally, albumen. 3) A tintype is a positive image made on a piece of metal. Traditionally tin was used, but modern practitioners usually use aluminum. Therefore, these plates are sometimes called aluminotypes or ferrotypes, referring to the aluminum substrate. Other substances can be used as the substrate, such as Plexiglass (called a “Plexitype”), agate (called an “agatype”), or any number of other “-types”. Woodcut / woodblock- A relief printing technique using carved wood blocks as the printing plate. The ink is rolled onto the raised surfaces of a carved block and paper is placed on top. The ink transfers to the paper. See “relief print” Ziatype - Very similar to a platinum/palladium print, except without the platinum, so much less expensive. The ziatype uses ferric ammonium oxalate, potassium chlorate, palladium chloride, and lithium chloride sensitizer

Jacob Crook, One Time Only, Mezzotint, 12” x 18”, crookstudio.net

(Dis)information

Complication Douglas Stockdale

Cyanotypes from expired film printed on Revere Platinum hot press cotton rag Images: 9” x 9”, Paper sizes: 11” x 14” DouglasStockdale.com

Isabel Winson-Sagan Original Face: In The Water 1 56

Archival pigment inkjet prints 17.5” x 24” ea. isabelws.com

Ashley McElroy Lightning Silver gelatin print 1” x 14” ashleymcelroyphoto.com

NEXT CALL FOR ENTRY: Issue #43 (Winter 2024) Submissions Due November 30 Submissions to The HAND Magazine are always open There is NEVER A THEME The due date for entries for Issue #43 is November 30, 2023 The HAND Magazine is a magazine for reproduction-based arts: We will consider any and all techniques that incorporate photographic and/ or printmaking techniques. Submissions require a subscription Single-issue subscriptions (one issue for $15) One-year subscriptions (four issues for $50) Two-year subscriptions (eight issues for $80) Prices vary outside the US to accomodate shipping Artists may submit up to 5 images per submission For the required submission file specifications, payment information and submission forms, visit the website: www.thehandmagazine.com, and click on the “Call For Entries” page. Back Cover: Christine O. Sobczak, Untitled, Cyanotype from digital image, 20” x 16”

LLJ

L.L.T.T.H. LLTTH