Monoprint-Monotype

Dedicated to Unique Mark Making

VOL.I Issue 1

Winter 2015

OUR MISSION Monoprint-Monotype.com understands the importance of providing a venue for this unique form of art. Our matrix is as open as the imaginations of the artists it supports. To that end we will explore the work of emerging, established and surprising artists from around the world. They will be presented here and in our on-line magazine.

If you are a Monoprint or Monotype artist, we are interested in what you have to say and what you have to show.

If you are interested contact us for more information at; Donald@monoprint-monotype.com

Š2016 Monoprint-Monotype Reproduction in whole or part is prohibited without permission

The easiest way to understand the difference between a Monoprint and a Monotype is to understand the underlying block or matrix.

Monoprint When beginning a Monoprint, permanent marks are produced on the surface. This creates a common feature on successive works.

But there would be an endless variation of images according to the application of medium, (paint, ink, chalk), and whether additional collage elements are added.

Monotype A Monotype on the other hand is created on a smooth surface.

Similar to monoprinting, a variety of mediums and elements can be incorporated on the surface. But there are no permanent features that transfer to successive works. Once the image is transferred, except for the occasional ghost print from excess medium, the surface is freed from the created work of art and the chosen surface now holds the art work.

Strappo A Strappo is a dry image transfer technique that has been recognized as a specific printmaking monotype procedure by the New York Metropolitan Museum of Art and a sample Strappo is in the print library collection. A Strappo is a combination of painting and printing. They are a monotype from a reverse painting resulting in a dry acrylic transfer. developed a smooth surface such as glass.

Ina Kaur

Ina Kaur is a inter-media artist and printmaker who is a native of New Delhi, India. Her studio research has been exhibited widely, both nationally and internationally. Kaur has also been a recipient of numerous Grants, Residencies & Excellence Awards. Kaur graduated with her Masters of Fine Arts Degree with honors from Purdue University, Indiana USA. She pursued her MA from MSU Baroda and received Bachelors of Fine Arts Degrees with Roll of Honor (Gold Medal) from Punjab University in Chandigarh, India. Currently she is an Associate Professor of Art and teaches at The University of Tampa in Florida. She is also sought after as a visiting lecturer.

Kaur explores a continuum of cross-cultural negotiation. Localism, globalism and hybridity have formed a new perspective for Kaur in conceptualizing and visualizing her work and identity. Her works are primarily abstract and utilizes simple organic forms (natural and circular), while expressing complex ideas. She lives and works between India and USA.

Email: inakaur@gmail.com Website: www.inakaur.com Facebook: https://www.facebook.com/profile.php?id=13748585

Artist Statement “Entangled” series and “Hybrid mediums” series Our identity is a complex, ‘Entangled’ assimilation of varying influences from past and present. My works abstractly express these nuances of our identity, being or existence, from a microscopic and macroscopic lens. I examine layers of complexities, associated with notions of identity, whether it is to help define something or to limit it’s potential. Critically, language utilizes binary systems that are strictly defined as two theoretical oppositions to make contrasts between two mutually exclusive terms.

‘Entangled scape’ series 1.1 Multi plate Intaglio with stencil Mono-print - Image 12 x 12 inches

‘Entangled scape’ series 1.2 Multi plate Intaglio with stencil Mono-print - Image 12 x 12 inches

Entangled scape series 1.3 Multi plate Intaglio w/stencil Mono-print - Image 12” x 12“

My intention is to break away from this sort of opposition, which in my view limits and segregates mankind. The work investigates the synthesis between binary oppositions such as: East-West, localglobal, ancient-modern, oriental-occidental, and how they coexist.

‘Entangled scape’ series 1.4 Multi plate Intaglio with stencil Mono-print - Image 12 x 12 inches

Visibly Obscure Multi plate intaglio and stencil Mono-print - unique impression Size: 30” x 22”; Framed size: 40” x 32”

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Clear Deception

Multi plate intaglio and stencil Mono-print - unique impression Size: 30” x 22”; Framed size: 40” x 32”

Carter Shappy

The Tank Carter Shappy is a painter, printmaker and sculptor currently living in Portland, Maine, where he received his Bachelor of Fine Arts from the Maine College of Art. He was born in Rutland, Vermont, but spent most of his childhood to high school years living and working in Burlington while briefly attending the Community College of Vermont.

Carter is the print shop manager at the Running with Scissors Artist Studio located in East Bayside, Portland, Maine.

He also is the co-founder of Shipwreck Press, a mobile printmaking collective specializing in original woodblock printed matter.

The Spiral

Artist Statement There are an infinite multiplicity of monotype methods and mediums. It is, certainly for my own practice, one of the richest ways to explore and experiment within the gamut of printmaking processes. There is merit to the edition, this is undeniable, however, when one is freed from its constraints alchemy happens. This is where my love for printmaking resides, in the murky recesses of experimentation.

My work up to this point has heavily relied on my perception of the seemingly ordinary and insignificant throughout pedestrian life. I use walking as a tool of meditative exploration to allow

A Moment of Creation

This state of mind, quite similar to that of a child's curiosity, opens the door for new investigations of objects and phenomenon having characteristics of both the unseen and commonplace. I have found myself specifically drawn to the abundance of plastics present in my urban and rural environments. I collect materials, sounds and images from these walks, which I then subject to chance experiments within printmaking (specifically monotype), painting and sculptural processes. Most recently, the catalogued evidence has taken the form of sculptural print installations involving sound elements and light.

Whole– Part III

My hope is that viewers might momentarily and willfully suspend their habitual and assumptive perceptions of their routine environments and engage with these rather mundane, commonplace sounds, objects and materials under a transformative and fantastical light.

Untitled Contact Info Carter Shappy Email: cshappy@meca.edu Website: www.cartershappy.com Instagram: @seeshapps

Jan Geyer

Photo by Barbara Salter News-Tribune Photos

Featured Interview MM: Tell us about yourself, How you got started in these techniques. Did an artist inspire you or did you come to it through a class?

Jan: I started printing monotypes while I was studying printmaking at SVA (The School of Visual Arts, NYC) in the eighties. I became more and more experimental during the etching plate wiping process and started moving from edition production into creating unique images. I have experimented with printmaking over the years, along with painting and drawing. I was lucky enough to meet Harold Garde a few years ago. He taught me his strappo printing method and I have been inspired by him and working with the strappo technique ever since.

MM: Along that line, to you, what is the most exciting element about this technique?

Jan: I love th e ch allenge o f th e reverse painting inherent to the process and the separation of the “hand� from the end result. Strappo is a painterly process; the finished piece is, in fact, a painting in addition to being a print, so that appeals to me as I am a painter.

MM: Artists seem to use everything from oils to specialty inks and acrylics. Is there a particular medium you prefer?

Jan: The strappo technique calls primarily for acrylic mediums and paint, I also incorporate paper and graphite, crayon, plastic and fabric in much of my work.

MM: What advice would you give artists just starting out in this technique?

Jan: I would give the same advice for starting strappo as I would for any new technique: Experiment! Don’t worry about screwing up, expect to make mistakes and enjoy the challenge. (and strappo can be challenging!) I have found that working in this technique has profoundly changed how I go about painting in general, it has taught me to pay more attention to the scale and preparation of my mark-making.

Magenta Scarf

Flamenco Woman MM: What does your typical studio day look like as if anything is typical for an artist?

Jan: My typical studio day starts with fussing over what music to listen to, do I feel like gentle contemplative melodies or do I need a cheerful rhythmic beat to get me going? Then I move onto considering my work ahead, depending on where I am in my work, I consider the composition, the narrative, the line work, the drawing and value aspects of the piece. After I have a basic framework down I usually focus on color. I take a lot of breaks, I drink a lot of coffee, eat a lot of snacks, I practice dance moves I’m studying and I sing loudly sometimes (not necessarily in key).

MM: What artists have influenced you?

Jan: I have always been primarily influenced by the graphic simplicity and mystery of Gothic painting; portraits by Pisanello and Memling. I also love Ingres and Veronese, Pontormo, Scheile, Bacon, Freud and Balthus.

MM: Are there artists mend to our readers?

The Drummer

Jan: I would recommend rewarding and inspiring wander around without a ing and taking note of wh you, what ancient artifac age “speak� to you, which makes you want to run ba your own.

MM: Finally is ther e a add?

Jan: Thank you for inclu

Untitled

you would like to recom-

d what I find to be the most g activity: visit a museum and a plan, taking your time lookhat artists and pieces interest cts, tools and remnants of an h current installation or video ack to the studio and create nything you w o u ld like to

uding me in your publication :)

St. Catherine

Contact Info Jan Geyer Email: janstudio248@gmail.com Website: http://www.jangeyer.com/ home.html

Andrea Warner

After the Light Andrea is a member of the Rhode Island watercolor Society, the Attleboro Arts Museum, the Monotype Guild of New England and Collective Marks. She has shown and sold her watercolor paintings at the Arnolds Mills Community House, the Pennacook Art Center, The Rhode Island Watercolor Society, and the Attleboro Arts Museum.

Before the Light After years of working in watercolor and collage, in 2012 Andrea started taking the Attleboro Arts Museum’s monotype classes. She enjoys working in this fascinating and challenging medium. A large body of her work was commissioned for the offices of Photofabrication Engineering, Inc. She has received awards for her monotypes at the Attleboro Arts Museum. Other places her monotypes have been shown include the Zullo Gallery, the Nave Gallery Annex, the Easton Shovel Town Cultural District’s Legacy Exhibition, the Falmouth Art Center, One Studio Smooch, and the Brick Bottom Gallery.

Artist Statement

Until five years ago, I considered myself a representational watercolorist. Since then I have worked primarily with monotype abstractions, extending my work with abstraction to acrylics.

Discovering monotype was a turning point for me. I like the process, its challenges, and the anticipation of watching paper go through the press to be unveiled as a print. I am excited about investigating this medium further and pushing my limits. Monotype as a medium is freeing and fun and has made me more aware of my use of composition and color. Through monotype I have become more relaxed about my work and have grown as an artist.

Long and Winding Road

Tapistry

Contact Info Andrea Warner Email: andiw222@gmail.com

Website: andiwarner.com collectivemarksartists.com

Do You Want To Dance

The Mexican

Mexicana #1

Mexicana #2

These monotypes remind me of the community I grew up in. Altho Mexico High School, in Mexico, Maine, arch-rival of my Stephens Hi would never wear, but I found myself smiling as my compositions e

n Series

Mexicana #3

ough the titles suggest another culture, the colors are those of igh in Rumford, Maine. Those were colors a Stephens’ student evolved. It felt good to be reminded of Mexico, Maine, and home.

Barbara van Buskirk Barbara van Buskirk opened a big, new chapter in her creative life when she took a monotype workshop in February of 2000.

She felt very much akin to this medium and ran with it. During the next 11 years, Barbara created more than 300 finished monotypes, printing each one by hand on Takach etching presses, working first in a group studio and then, three years later, opening her own studio in Albuquerque, New Mexico.

The Caress of her Hand

In addition to printing and experimenting with this wonderful medium, Barbara exhibited continuously in local galleries as well as in national and international juried shows. Her monotypes are in public and private collections.

A Boiling Seething Place

Beautiful Lady 1

Artist Statement "To know is nothing at all; to imagine is everything."

–Anatole France (1844-1924)

Growing up in a small town, I had ample opportunity to exercise my imagination. During the thick, slow days of summer, I’d settle into the green shelter of the twin willow trees which framed my family’s backyard and there felt free to imagine, read, write, draw and dream of living a creative life. In my art, I imagine and dream and hunt for treasures: the spark close to the heart, the inner world which lies deep below the surface.

My art also reflects two very different views I have of the outer world. When wearing my eyeglasses, I see clean lines and minute details. Without my glasses? My extraordinary near-sightedness is in full bloom. I see light and dark. Splotches of color. Shapes.

Two very different perspectives of the world, both of which are reflected in my art.

My imagination fuels most of my pictures, although from time to time I’ll jump start a picture by looking at drawings I’ve made or photographs I’ve taken.

Sometimes I know how I’m going to start a monotype. More often than not, I start a picture by making marks on a plate then move the ink around until I start to see an image appear. This is the spark which ignites my imagination and brings to the surface the images in my work.

When making art, I try to think as little as possible, and go with the flow. The relatively simple medium of monotype and a bit of water-based ink sets me free to travel wherever my imagination may take me and, in turn, gives the gift of a hand printed souvenir of my travels.

For me, art and creativity are the same as food, water, shelter and air: basic necessities for daily living. Most importantly, art is fun!

Barbara van Buskirk

Sisters #1

Sisters #7

Sisters #3

Three Queens

Contact Info Barbara van Buskirk Email: art@bvanb.com Website: www.bvanb.com Twin Spirits

Š2016 Monoprint-Monotype Reproduction in whole or part is prohibited without prior written permission