Becoming - new print for Lost Coast Culture Machine!

This spring, I was asked to be part of an invitational portfolio to support Lost Coast Culture Machine, this totally awesome, amazing, alternative exhibition and papermaking space up in Fort Bragg, CA. Book Bombs was part of an exhibition with them a while back, and since I've moved to California, I've been meaning to visit. More on that later.

For this portfolio, each artist was given some paper (see mine above) made at LCCM, to which they were asked to respond to this following quote by Giles Deleuze, One should seek to create a foreign language from one's own language, to be spoken by a community that does not yet exist. Not being too familiar with Deleuze, my first step was to sit down with my knowledgeable friend and philosopher Phil King (who currently has some paintings up at the Bay Area Free Books Exchange - go see them!).

My first response to the quote, before even talking with Phil, was that Deleuze spoke of a form of rebirth. As I came to understand, Deleuze was interested in breaking free from convention, reality, the mundane, but rather than attempting to reach a higher plane or truth, he felt that truth was found in the act of escape itself. The in-between interval, the interstice, was where he wanted to stay. When talking to me, Phil mentioned Heraclitus's concept that it is impossible to step in the same river twice, and how Deleuze would answer this by saying instead of stepping into and out of the river, or across the river, try to place oneself within the constantly changing waters.

I liked this idea: constant change, constant becoming. As an representational image-maker, I also liked the idea of the river. When considering process, philosophically the idea of reduction block, something that is constantly carved away to make the next image layer, seemed to reflect the ideas of the Deleuze as well. I started with this layer of very transparent blue:

The second layer was a rainbow roll of two different colors - below you can see how it was rolled, and then the print:

I was originally intending to carve away the mountain shape down to the border of the water, but I felt the image would flatten out too much without something to imply depth. So I cheated. the next layer (the darker green mountain shape) was not part of the original block. In the interest of time, however, I printed the sandy beach at the bottom in the same run, which was.

I almost left it at that - but I wanted the water to feel more watery, so a very transparent bluish silver was printed next:

Finally, reducing the block to almost nothing - the completed print, Becoming:

For those who might not recognize the scene, it's based on the view from the beach at Miller-Knox, looking towards Mt. Tamalpais. Instead of Heraclitus's river, I have the waters of the San Francisco Bay. Hydrologically, the estuarial waters of the Bay are part ocean, part fresh, and their salinity changes depending on the amount of rain the region receives. With their currents and rising and lowering of the tides, they are a state of endless flux. I see the figure in outline dissolving into their state of constant change.

For an six-color edition of 50, not counting extras printed for mistakes, the block ran through the press around 300 times. I can't even imagine how many passes of the roller I did. As it neared completion, Robert and I decided to use this print as an excuse to finally head up the coast to visit LCCM and see the Fort Bragg/Mendocino area. More on that to come - check back!

After Wyoming-Photos from the exhibition

A few snapshots of After Wyoming, my show that's part of Pictures+Words: The Artist Series, at the Bay Area Free Books Exchange. The show is up till May 5, and if you stop in to see the work, you can also help yourself to some of the free books! Some real treasures were found this weekend at the opening. And stay tuned for the next artists in the series, Phil King (May 13-June 9) and Timothy Buckwalter (June 17-July 14).

Thanks to everyone who came out to see my work (especially on a double holiday weekend). In particular, thanks to Phil King for all his work as curator and organizer, and thanks to Robert Wuilfe, always, for his continual, ongoing support.

Pictures + Words: The Artist Series, at Bay Area Free Books Exchange

Click on image above for larger version.

Pictures + Words: The Artist Series.

Organized by Philip King @
BAY AREA FREE BOOK EXCHANGE
10520 SAN PABLO AVE.
EL CERRITO, CA 94530

March 26, 2012: On Sunday, April 8, the Bay Area Free Book Exchange launches Pictures + Words: The Artist Series. Curated by Philip King, this will be an exhibition in three parts by local artists taking an opportunity to liberate the words: “book,” “free,” and “exchange,” as a new way to display their work. The series launches with After Wyoming, a response to “Book,” by printmaker and book artist Michelle Wilson. The Bay Area Free Book Exchange is located at 10520 San Pablo Avenue in El Cerrito, and is open every weekend from 9AM-6PM. A reception will be held on April 8, from 4-6 PM, where visitors will be able to enjoy food and drink, see the art, and help themselves to the free books. All activities are free and open to the public.

The quiet materiality of Wilson’s work includes a sense of the time taken making it, making her own paper and carving blocks to print her imagery. Like so much of the best contemporary artwork it brings with it its own lucid conscience, and a sense of story. As a book artist, Wilson has chosen to liberate her visual narratives from their bindings, and instead presents a series of “pages,” in a nonlinear sequence of events. Wilson was recently an Artist-In-Residence at Jentel Arts, an arts residency program in Sheridan, Wyoming. After Wyoming is her response to her time there and experiences since returning.

Pictures + Words: The Artist Series continues in May with paintings by Philip King, followed by the collected images of Timothy Buckwalter. All the artists live and work in the East San Francisco Bay.

The Bay Area Free Book Exchange was established May 17, 2009. It was created and is run cooperatively by local book sellers/book lovers who process thousands of books every month. They thus continually stock the shelves of the Free Book Exchange. All the books on all the shelves are available to the public free of charge. It is an ever-changing treasure hunt among thousands of books. Open Every Weekend Saturday & Sunday 9am-6pm. For information on the artist series please contact: Michelle Wilson at michelle(at)michellewilsonprojects(dot)com.

Publications, a New Print, and other news

Maddy Rosenberg invited me to dust off my collagraph skills recently, by inviting me to write a how-to article for Central Booking Magazine (follow the link to order a copy)! The gives step-by-step instructions, which are illustrated by the making of the print above, Solace.

It's been a while since I made a collagraph outside of a classroom demonstration or print exchange with students. It was exciting to get back into experiment mode - I used to make so many collagraphs, like this one below, made while on a residency in Costa Rica.

My challenge was to fit this technique into my current work, which incorporates a more graphic punch. The final print uses the collagraph as a the first layer of color, with four more layers of linoleum on top. Since I've been back from Wyoming, I've been trying to take more walks. Still not managing to as much as I'd like, but my favorite place to go is Point Pinole, which is where I drew the inspiration for this piece.

I'm not sure what exactly draws me there, I love the panorama of the bay and Mount Tamalpais from it's western side, I love seeing the plethora of birds, I love hearing the wind blow through the grasses. Though I think what I find most comforting is the history - the park is the site of a former munitions company that made black power and dynamite. There are still a few relics on site - like this black powder press.

There is also a bunker where I believe they tested explosives, now almost completely overgrown with trees growing out of the walls. Nature has reclaimed the site, and I find this evidence, with Robert still incapacitated, as a great comfort.

As I continue with this series, I've been wondering about this recurring theme of "people looking at stuff" that seems to crop up often. Not sure where it's going, but I think I might need to break out of the static nature of it soon, though not yet...

In other publication news, Shelley Thorstensen, in other words, a catalog of prints by the woman who introduced me to printmaking is out. I've written an essay for it - and it's the first in the book! It can be ordered online or scrolled though page-by-page here.

I'm also part of a three-person show with Helen Hiebert and Sun Young Kang at MCLA's Gallery 51 in North Adams, MA, curated by Melanie Mowinski. The show is called Branching Together, and as Melanie puts it, in an almost Mary Oliver poem kind of way:

The lines, paths and ways created by fiber, paper and shadow that each of these artists create branch together as they journey from birth, through life and into death. Where are the places inside of each of us that mother, that mourn, that take a stand? How do they branch together in you? How do they branch together in me? How do they branch toward each other, bringing us together as we journey in this great community of earth? I ask you this as the curator, to think about this as you experience this exhibit, what is your path? How is it part of this greater communal journey of birth, life and death?

Image above is my piece, The Ghost Trees, on view in the space.

The idea for Solace was a moment I had at Point Pinole, standing on the eastern side looking over the water. It was early evening, low tide, and birds were feasting on what they could find along the shore. One gull flew in an arch almost directly above my head, crying out a single caw. It seemed directed at me - probably from his perspective, it was either telling me, the predator, to get lost, or warning other birds of my proximity, or some mixture of the two. Yet something about the cry, the moment, the recognition of my presence, reminded me of how interconnected I am to everything. It didn't take away the anxiety and sorrow of everything that's been going on, but it was enough.

Left To Chance, San Francisco Center for the Book Opening

An estimated 300 people squeezed into the San Francisco Center for the Book on Friday for the opening of Left to Chance: In Search of the Accidental Book Art . The exhibition was curated by the luminous Hanna Regev, pictured below, center, bookended by SFCB Co-Founders Mary Austin and Kathleen Burch.

My new piece, Fugitive, was part of the exhibition. With the crowd, I could barely get close enough to take any pictures of it! The work was displayed with gloves so that viewers could handle and see the papers close-up.

The exhibition, which is on view till May 12, is inspired by the work of John Cage, and his use of chance operations. Some Bay Area folks, like Kathleen Burch, actually knew Cage and worked with him on projects. Cage, to me, has always been a distant figure, a colossus straddling visual art and music, influencing countless creatives of the past century until the present day. It's been so eye-opening to hear people who knew him talk about him as a person, someone who was sweet and full of life, with a quirky sense of humor. What I liked most was that people seemed to like him as a individual, not just as an Important Artist. The impression I get from them is encapsulated by the wall quote pictured below. If you can't read it - click on it for a larger image.

Sneak Peak - New Work for Upcoming San Francisco Center for the Book Exhibition

Some sneak peak details from a new piece, Fugitive. It's going to be part of the next exhibition, Left to Chance: The Accidental Book Art, at the San Francisco Center for the Book. As it reads on the colophon page for Fugitive:

"The title of this portfolio derives from the term used for pigments and dyes that fade when exposed to light. More commonly, it refers to someone who is avoiding arrest. The corporate logos and symbols that appear are representative of entities and activities that benefit from a global corporate monoculture that has led to financial and environmental devastation. The actions and organizations depicted have no fear of repurcussions for their criminal behavior.

The handmade papers for this portfolio were selectively exposed to light, causing their natural pigmentation to fade to create the images. Fibers used are from Andean Pampas Grass (Cortaderia jubata), a species invasive to the United States. Invasive species such as Pampas Grass decimate native ecosystems, drive out diversity, and their presence is due directly to globalization. Through their use as a fiber base for this portfolio, a symmetry between material and content is created, with the awareness that financial and environmental justice often go in unison."

No piece is ever made in a isolation, and I could not have made this work without the advice I received on the Yahoo Papermakers' Group, particularly the help of Winnie Radolan and Catherine Nash. In addition, thanks to Hanna Regev, curator of Left to Chance as well as the Get Lucky exhibition at SOMArts, for including me.

Together Again

I just learned yesterday that I will be in an exhibition with my friend and old studio-mate Sun Young Kang! We are going to be part of the exhibition Branching Together, curated by Melanie Mowinski, coming at at PRESS: A Letterpress Public Art Project in North Adams, MA. Unfortunately, I don't think we will physically be able to be there, but I'm sure our spirits will.

Above is Sunny's piece that will be on display, though I believe it will have a different configuration for PRESS, and I will be exhibiting my Ghost Trees. The exhibition will also feature Helen Hiebert's Mother Tree project. Its sure to be an amazing and paper-rific exhibition!