march recap

In March a lot of progress was made in the three large scale prints on death. As of now they are done and all that is left is some experimental printing by making monotypes. Creating two layers for each of the three reduction linoleum prints involves a meticulous process that combines both color and black layers. The initial layer typically consists of a vibrant color that serves as the foundation for the print, introducing a lively and celebratory mood. Following this, the black layer is added, which outlines and enhances the imagery. The reduction method requires careful planning, as each cut in the linoleum removes elements that will not be inked in subsequent layers. This technique, while intricate, allows for the development of depth and contrast, resulting in prints that are visually engaging and rich in texture.

The use of color significantly alters the graphic nature of the bold printmaking style, bringing an unexpected warmth and energy to the composition. The interplay between the bright colors and the definitive black lines retains the strong, graphic quality characteristic of linoleum prints, ensuring that the inherent boldness is preserved. The layers work cohesively to celebrate the imagery, as the colors animate the print and bring a sense of vitality. By balancing these elements, the prints become a fusion of boldness and vibrancy.

In the second layer of the first print of my series, intricate carvings of the window and the characters depict the woman in a moment of vulnerability, her expression a mix of sorrow and serenity. Death offers solace, representing the delicate balance between life and loss. The interplay of the two layers, along with the contrasting negative spaces, enhances the visual depth of the print.

This print getting it’s second layer allowed me to finally see what I had actually been working towards. As the first color layer had a completely different effect compared to the second being placed over top. Before it was a very soft and colorful image, however, once the second layer was finished that graphic nature was introduced that I adore about printmaking. This effect finalized the piece for me and I had a new source of energy to finish the other two.

The second print I have been working on gave me some doubts in the beginning. As I had already decided and mixed the colors, aiming for a lighter color blend to add more contrast than the last. However, I found that by itself, I was not a fan of the lighter print. I decided that I needed to see it through though as I wanted to have a more muted color palette for this print. The more muted palette gives it a more peaceful and reflective mood to the piece. Thankfully as I added my second layer it came together and had the effect I was aiming for. During this round of printing I also focused on what colors would peak through the black on the figures. I decided to play around and have a few with different versions of the blue and orange. The print run was a success, the result was ten pieces that balance boldness with subtlety while continuing my narrative.

Here below you can see how some of the color peaks through more subtly in some while others are a little more dramatic. This is a constant through all three and I really enjoy the variations in the pieces. Both because it pulls the characters more into the setting they are in as well as giving it a more craftsmanship like quality to them. The stark white of the characters creates a striking contrast against the colorful background, allowing them to emerge vividly from the surrounding space. However, the subtle infusions of color that peek through the black lines serve as an anchor to the figures within the setting, I wanted to have this subtle integration that grounds them in their environment. This delicate balance of boldness and nuance is a hallmark of printmaking, enabling me to have a unique interplay between the characters and the background.

The third was the most fun color wise as I wanted to make it the most saturated and brightest. The choice of brighter colors in the design symbolizes the vibrancy of new life, reflecting the pure, uncomplicated joy found in holding a baby. These vivid hues evoke feelings of warmth and innocence, emphasizing that the arrival of a child brings an unparalleled light to the world. In this context, even death, often seen as a somber event, is reimagined; it is gentle and nurturing, akin to a peaceful embrace. The bright colors had a eye catching contrast to the black layer placed on top in a way that the second print was more muted, this third print calls out for attention.

Standing as a striking finale to the series, encapsulating a complex emotional landscape where discomfort is combined with comfort. By portraying death cradling an infant, the artwork walks a fine line, presenting a paradox that evokes both unease and tranquility. It challenges the viewer to confront the often-taboo subject of mortality, especially when juxtaposed against the innocence of childhood. The choice to depict this tender, yet unsettling connection was intentional, aiming to provoke thought and reflection on the cycles of life and the inherent fragility of existence.

In crafting this piece, the focus was on ensuring that the image exuded a sense of comfort, transcending the initial discomfort that might arise from its subject matter. The delicate portrayal of the child—and the gentle embrace of death—was designed to emphasize a protective quality, suggesting that even in the face of life's most profound losses, there is a warmth that can be found. This duality invites viewers to reconsider their perceptions of death, recognizing it not only as an end but also as an integral part of the comforting narrative of life. The print ultimately serves as both a reminder of life's fragility and a source of solace amid the complexities of human experience.

While working on my project incorporating color into it’s narrative I also worked on several pieces that served as stand alone images. The first image I finished was “Resist” which is a drypoint at 18 by 24 inches. The etching is of a coyote caught in a tense moment, its body is straining against the grip of hands that emerge from the edges of the image. The animal’s wide eyes convey a deep-seated desperation, a final effort to break free from what binds it. The contrast between the coyote's emotion and the hands that hold it conveys an unsettling harmony; both are engaged in a struggle, depicting a sense of shared vulnerability and the complex nature of control.

The plexiglass etching serves as a striking visual narrative that invites viewers to reconsider their initial interpretations. At first glance, the coyote appears to be the central figure of confrontation, radiating an aura of menace that aligns with the instinctive associations many hold towards predators. This seemingly straightforward presentation beckons viewers to explore the darker side of nature, encouraging them to cast blame on the animal as the apparent culprit. The vivid intricacies of the coyote's form are crafted with precision, drawing attention to its predatory grace, yet this focus belies the underlying complexity present in the piece.

Upon closer inspection, the hands etched around the coyote reveal their true significance, prompting a deeper reflection on agency and responsibility. At first, these hands seem innocuous, cradling rather than constraining, leading to a deceptive impression of freedom. However, they serve as a subtle reminder that the real source of tension lies not within the coyote's instinctual behavior but in the human tendency to impose judgment without understanding. To blame the coyote is to misunderstand the natural world, a world where creatures operate on instinct, unbound by human notions of morality. In this way, the piece challenges viewers to confront their biases and consider the broader implications of their interpretations.

The print is large enough that it took longer periods of time to physically prep the plate and ink. each print took forty minutes to composite and hang. The final look of the drypoint is completely worth the labor it took to create as it successfully indicates the message I wanted to convey. Working with the drypoint medium takes a lot of work in the printing process compared to the etching process in the beginning. The plexiglass drypoint prints can only be created using a press found in printmaking studios, leaving me with the ability to make this type of work while I am in my residency.

One project I have been working on in an experimental way has been the three Banshees linoleum prints. Originally they were made separate, but when I decided against a frame the idea to collage the three together came about. After pondering how to go about it I decided to cut them out and have them in one image and add details later. What I have now is the three staggered together creating a more dynamic look. While adding more elements in white on top is still in the works, the way they create a more balanced image is very satisfying to me. I would like to keep it more on the simple side or even add some script in later iterations. For now it works well as a stand alone image with the confrontational attribute being made very apparent when the three are next to each other rather than apart.

first half of an artist residency

In January of 2025 I committed to a residency program at Meredith College which also allows for experience in being a teacher’s assistant within the printmaking studio. I began this process by researching the residency program to understand its goals, requirements, and amenities. I had set clear objectives for what I wish to achieve during my time here, which for me is creating specific projects and networking with fellow artists.

The initiation of a printmaking artist residency at a college presents a unique opportunity for creativity and collaboration within an academic environment. This program aims to foster artistic exploration and innovation by providing emerging artists with the resources, space, and community support necessary to develop their work. Through guided mentorship, and access to specialized printmaking equipment, the residency invites artists to engage with students and faculty, promoting a vibrant exchange of ideas and techniques. This initiative not only enhances the artistic landscape of the college but also enriches the educational experiences of students.

As I have now reached the halfway mark of my residency I would like to take the time to give an update on all the projects I have started and how I am pursuing them. I started out with a very ambitious line up and while I believe that I will finish them, some have remained in the works longer than I personally think is necessary.

The first series of prints I started on explores the profound concept of meeting and communicating with death as a benevolent presence rather than a fearsome force. Each of the three artworks portrays death as a welcoming entity, gently guiding individuals through their final moments with grace and understanding. The imagery invites viewers to reconsider preconceived notions about mortality, illustrating death not as an end, but as a nurturing companion that offers solace and care. Through vibrant colors and quiet scenes, the prints encapsulate the idea that embracing death can lead to a deeper appreciation of life, inviting a dialogue about the natural cycle of existence and the comfort found in acceptance.

Print 1/3

The process of planning three linoleum carvings, each measuring 18 by 24 inches, begins with conceptualizing themes that resonate with one another while allowing for distinct expressions. In the first print of three, I chose to have the characters face each other. The woman is slowly putting her guard down and accepting what has transpired, while the presence of death provides her with a sense of comfort and reassurance in this difficult moment.In the artwork, the resolute skeletal hand rests on her shoulder, offering reassurance that life’s burdens are lifted as she surrenders to the inevitable. This imagery challenges conventional perceptions, proposing that in the end, the finality of death can serve as a profound source of comfort and peace. By both of the characters fully facing each other there is a sense of stillness and quietness that helps to make the image more resolute and centered.

Before designing the second print I had decided I not only needed to have a complex background but I also needed a common theme between each print to give a sense of unity. I knew I didn’t want to put my characters in a scene as they needed to be somewhere outside of a tragedy. I chose to create a pattern in the background that acts like a window. I took inspiration from rose windows as well as flowers, to give a natural yet blooming sense behind the characters. I wanted it to be both consistent yet have a sense of movement. To accomplish this I added the element of color in to shine through the “window panes”.

Print 2/3

In the second linoleum print, the scene captures a man standing resolutely, gazing outward while Death stands beside him, emblazoned in dark hues that contrast sharply with the man’s solid posture. The composition emphasizes a dialogue grounded in pragmatism rather than sentiment. The man symbolizes clarity and acceptance, as he turns to meet Death's gaze, embodying a logical confrontation of life's ultimate truth. This print invites viewers to reflect on the nature of existence and showcases a nuanced relationship that balances strength with awareness, underscoring the man’s choice to acknowledge rather than evade the presence of his companion.

Print 3/3

In this third and final print, Death is depicted gently cradling an infant, embodying a paradox where the end meets the beginning. His presence, traditionally seen as intimidating, is softened by the compassion in his actions, portraying a figure who nurtures rather than frightens. With delicate hands and a tender gaze, Death signifies a universal truth: that all lives, regardless of age, are enveloped in his care. The innocence of the baby, a symbol of love and new beginnings, receives a gentle assurance from Death, reminding us that he doesn't merely take away but also cherishes those who have lived fully and loved deeply. In this moment of serene connection, the artwork captures the gentle embrace of mortality, inviting viewers to reconsider their perceptions of life’s inevitable cycle.

These three prints take on a subtle change of view for the same ending, as death meets with all of them. however, I hope to convey that it is not in the traditional sense of immediate judgement and sentencing but in understanding and empathy. In my trilogy of linoleum prints, the theme of death is explored through a lens that positions death as an empathetic caretaker rather than a harsh judge or executioner. The first print, titled "Confrontation," captures a moment of intense yet serene interaction, where figures face their mortality with a sense of understanding and acceptance. The second piece, "Communication," illustrates a dialogue between the living and the departed, emphasizing the importance of connection and the sharing of experiences as they navigate the inevitable. Finally, "Comfort" portrays a gentle embrace, symbolizing the solace that death can provide, inviting reflection on the cycle of life. Together, these prints invite viewers to reconsider their perceptions of death, highlighting its role as a compassionate guide through the journey of existence.

Desperation drypoint plate

While the the first series of prints I have started on are not totally complete, they are not the only pieces I have been working on. Another I’d like to share is the piece I am calling desperation. It is an 18 by 24 inch dry-point made on plexiglass. In this striking drypoint print, the image of a coyote captures the complex duality of desperation and need. The coyote, portrayed in the midst of a struggle, is depicted breaking free from a multitude of hands. Some hands appear to clutch at its fur, symbolizing restraint and confinement, while others reach out in a gesture of some sort of solace. The coyote’s expression reflects a sense of panic and desperation to escape. Through intricate and delicate lines along with rich textured shading, the artwork evokes a profound sense of movement and dynamic energy that captivates the viewer's attention.

Continuing to create prints through linoleum and drypoint offers a vital opportunity to delve deeper into the themes of power and the emotions they evoke. I will continue working in both mediums, exploring their unique qualities and characteristics, as well as incorporating some monoprints into my practice. Each technique allows for unique expressions of this dynamic, from the bold, graphic qualities of linoleum cuts to the delicate lines of drypoint and the spontaneous nature of monoprints. As I explore this intersection, I aim to capture the complexities of power and its impact on human emotions. Reflecting not just the assertiveness or dominance it can convey, but also the vulnerability and resistance that accompany it. This exploration will lead to a body of work that provokes thought and invites viewers to engage with the emotional landscape shaped by power dynamics.

While I have created more art so far during my residency, I won’t bore you with a detailed description of each piece just yet. I have many works in progress and some of these will soon be available for viewing and purchase. Next month, I will be sharing another update that offers a deeper look into the creative process behind my artwork and the inspirations that drive my work. Stay tuned for insights, progress, and reflections that reveal what I’ve been up to lately.

Here are a few more snapshots of some of the things I have been working on to tide you over!

Three Banshee linocuts

A close up of a test print

My lone wolf test print

Thank you reader for your time and attention, until next time!