Waterlines installation at Works Gallery

I have a new installation up at Works Gallery in San Jose, as part of Eco Echo: Unnatural Selection. See the press release here. Here's a sneak peek! Click on the pictures for a larger view.

Pigeons!

Some new pieces recently completed. Woodcuts on Sekishu, chine colle'd onto found wallpaper. Click on the images for enlarged view. Inspired in part by my recent pieces for NIAD.

To see some of the making of these prints, check out my Instagram page.

The Last Color, a new artist book

Finally some good documentation of my Small Plate book, The Last Color. This book was inspired by my interest in the history of color, particularly by listening to this. For larger pictures, just click on the images.

Due to the brevity of the residency, I didn't have time to make the paper. So I decided to pass on the good fortune, and support other papermakers. The book includes Sekishu Washi and Multi-dipped Indigo Cave Paper. The imagery was printed from two-color reduction woodblocks.

The book is a variation on the flag book structure invented by Hedi Kyle. In the front of the book is a short pamphlet with the text, printed in Garamond from hand-set type.

To purchase a copy, contact Malgosia Kostecka, Program Coordinator for the San Francisco Center for the Book, at (415)-565-0545, or visit the center. Copies are also available from Mrs. Dalloway's Bookstore at 2904 College Avenue in Berkeley, or by calling them at 510-704-8222. And if those don't work, a small number are available from me directly, shoot me at email at michelle(at)michellewilsonprojects(dot)com to inquire.

My book, along with the other Small Plates editions, is currently on display at the Center in one of their beautiful new display cases!

The Making of a Small Plate

I've been busy these past few weeks completing the edition for The Last Color, my book for the San Francisco Center for the Book's Small Plates Imprint. Above is a photo that Cheryl took of the Small Plates artists and Chad: me, Andy, Chad (SFCB Studio Manager), and Patricia. This Friday, June 26, is the release party for the event - and everyone is welcome! The Facebook page for the event is here.

Making this book at the Center has been such a thrill - some photos of the journey below.

Printing many shades of blue:

Folded accordions stacked neatly:

Assembling the accordions with the flags:

After casing, an interesting weight solution that accommodates the accordion:

The books:

I'd be remiss if I didn't acknowledge all the assistance, advice, and problem solving by Chad Johnson, as well as the binding help from Jillian Bruschera and Lynn Prather.

Hope to see you on Friday!

Master Cheng's Catalog of Ink Cakes

In light of Hand Papermaking's issue on China, it seemed appropriate to share these now. So sorry for the crappy phone photos, but I couldn't help but be captivated by these historic ink catalogs! I came across them on the closing day of the Berkeley Art Museum's old building. I find it fascinating how something used to sell art materials becomes a relic and art work on its own. I wonder if the ink-makers ever envisioned that.

Click on the images for a larger picture.

Interviews in 2014

I was so overwhelmed looking at my SGCI photos that I forgot to mention that I met the lovely Melissa Potter during the conference. We had "met" prior to then over Facebook, and had been corresponding since, realizing that we had many of the same interests and values. During SGCI, she interviewed me for her project, Gender Assignment. You can watch the video here.

My latest work, some of which was also featuring in Now. Here. This. is also featured in this interview, (which is actually my third of this year)!

Frieze, the print above, was completed for my recent show. (click on the image for a larger size). Some shots of the making can be seen here and here.

Its come to me that the pieces like Frieze and the others I poured myself into for the show emptied me out of something, a sorrow, some unfinished mourning. A catharsis has taken place. I'm thinking about new things, or more accurately, old ideas in a new way. Maps and navigation are coming back, but more refined, more directed. Still in the beginning stages, but on a course towards something exciting.

"Now. Here. This."

March was a busybusybusy month, so much that I'm still in recovery, I think. Now. Here. This. came down the first week of April, here are a few shots of the show and opening reception.

Chaos ensues

The final preparations for my show, "Now. Here. This." As Katie pointed out recently, during crunch time, it gets messy.

I've been carving this big board for the past two months or so.

It was too big for Rocinante, so I had to print it by hand with a spoon. I'm not sure how long that took, but I listened to 2-3 podcasts of Wait, Wait, Don't Tell Me while spooning.

The final print:

We hang the show on March 3, and it will be up till April 4. The UC Berkeley Art and Design Extension Gallery is located at 95 Third Street in San Francisco. There will be a reception on March 20, during the Third Thursday Yerba Buena Gallery Walk, from 6:30-8. The exhibition will also be open during the Southern Graphics International Conference (although the link lists it as part of the East Bay exhibitions, despite being in San Francisco.)

Walnut-in progress

Currently carving a big board that I've had for a while, saved for something special. It's four feet long, this is just a detail....stay tuned.

The Studio is operational!!

At least for printmaking. Papermaking set-up still in process. I'm actually working in the space, so that's a good sign. So far, all I've finished is the holiday present above, a woodblock portrait of my wonderful little niece Olivia. But it's a start.

Images from "We and Stories"

The exhibition We and Stories, curated by Asa Yoshie, is almost over. If you didn't get a chance to see it, check out some of the images here.