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Monoprint


Artists

Monoprint 2013: A Gathering of Artists promises to be an exciting event this year and hopes to build on the wonderful success of our 2009 and 2011 events. In 2011 we had 12 artists from around the world come to UWSP to make prints, work with our students, educate the Midwest community about printmaking and help raise money for the printmaking area of the Department of Art & Design. For 2013, we have assembled a new group of artists that will bring with them a wide range of national and international experience and diverse forms of image making.

 

Dennis Nechvatal , Madison WI

http://toryfolliard.com/artists/dennis-nechvatal/

Dennis Nechvatal makes strong and powerful images whether it is a meticulous landscape, still-life or a network of metal masks. At first primitive in feel, they bid closer viewing and slowly convert into sophisticated reinventions of the natural world. The artist's Offerings series feature abundant floral bouquets lush with delicate brushstrokes. His popular Face/Mask paintings reveal layers of faces within a collage of hand-cut and hand-formed tin masks.


Danielle Wyckoff, Grand Rapids, MI

 

http://daniellewyckoff.com/

 

Recognizing the minute and infinite connective threads among us, my work addresses our abilities to love and the ways in which that shared capacity both unifies and separates us. We know each other insofar as we know how loving and losing love feels.

Each project I pursue iterates what it is to love. Furthermore, each project suggests an experience of immersion, a sensation evocative of love, often comparing such a sensation to being in water or drawing from certain properties of the element.

To explore, represent, and further entangle us within this conceptual framework, I create installations, prints, drawings, sculptures, and videos as well as collect stories about love from those willing to share. My projects acknowledge and elicit the shifting natures of love and water, their beauty and breathlessness, their terror and transience.

My work relishes in the individual experience, but simultaneously reveals that what we think matters most is truly what matters least: The “I” and “you” of “I love you.”



Bob Erickson, Amherst Junction, WI

Bob Erickson is an Artist/Professor of Art at the University of Wisconsin-Stevens Point, Stevens Point Wisconsin. His work has been exhibited across the United States and abroad including his latest project: The Other Place--a collaborative print portfolio with Northern Irish artist Keith Wilson, poet William Lawlor and book artist Caren Heft. He is currently working with Teresa J. Parker, Art Collection Curator at Benedictine College in Lisle, Illinois on Bob Erickson: Exorcising Disorder,

Works on Paper 1988-2013.

 

In Seana Thir (Irish for old land) Erickson gives us something that can never be finished or could be there forever, that is always becoming something else or will never change.  He gives us the concrete and the ephemeral, the thing itself and its emotional resonance.  It is now a part of him, and a place he will return to again and again with his body as he makes art, and with his spirit as he tries to snag his memories of all that is ancient, fading, reappearing and stubbornly persisting through the ages.



Caren Heft, Stevens Point, WI

 

http://www.arcadianpress.com/

 

   We say goodbye and Caren begins to walk away. Dressed in her characteristic black tee-shirt, black pants and found-object necklace, she raises her arm, turns her head slightly toward me, and calls out, “Make books!!” This is her mantra, her motto, her exhortation. This is what she expects of herself, and what she tries to implant in the minds of others. Caren Heft is a gallery director, a curator, an educator, a publisher, a papermaker, a letterpress printer, but forst and foremost, she is a book artist, wielding book forms like a musician wields an instrument, a poet her voice, or a painter her canvas. Caren strives, struggles, and usually succeeds at creating the perfect balance between word and space, color and texture, form and meaning in such a way that it becomes hard to imagine any of these elements existing apart from each other. She is a book sorceress whose mastery can conjure the presence of the living and the dead.

  

Caren has been making books since the least early 1980’s, but she founded the Arcadian Press and the Root River Paper Mill in the 1989 specifically to manufacture forms for the words she encountered. Unlike other small-press literary publishers, Caren’s interests do not lie in the precision or presentation. Rather, there is rawness to her work that I would describe as visceral, with a strong sense of immediacy and a deep understanding of the use of the text on a 2-D field- usually on her own handmade paper. While she is a very fine printmaker, her work is intuitive rather then calculated. Her books are never pretty, but they are always beautiful. Her subjects are often difficult ones, many dealing with issues of death, and often with violent or deeply sad death.


JinMan Jo, Plover, WI

 

http://art.usu.edu/gallery2/main.php?g2_itemId=7697

 

 

The dualities that Korean artist JinMan Jo embraces in life he strives to bring to life in his art. His large-scale sculptures are at once sleek and raw, refined and rugged. The stone, steel, and wood forms also embody psychological dichotomies—they reference hope and sorrow, harmony and suffering. In this regard the artwork, as process and product, serves as metaphors for larger human issues. To the artist the raw materials represent the strength that is crucial to withstanding the forces of nature and culture. As he explains, “These materials have their limitations, but then, so do you and I. In my working process, I experience both the conflict and the dignity inherent to the human condition.”


John Schulz, Boston, MA

 

http://www.smfa.edu/facultymodule/view/id/23/

 

Turning to generic images from first-aid manuals, intelligence tests and clip-art sheets, Schulz's work transforms common symbols and images from the "low" end of visual culture. Using chance operations and an ironic and illogical visual language, his work reveals aspects of the banal that are at once wryly humorous, strangely beautiful and vaguely threatening, conveying a sense of loss and psychic anxiety that reflects the uncertainty of contemporary life. "In the end, I hope to make something beautiful out of the insignificant, as in the rubber gloves and artichokes in the paintings of deChirico. I want my work to have a presence like furniture to which other meanings might be attached. A reviewer once spoke of my paintings as "essentially leaden and humorless." I found that to be a rather sensitive observation and took it as a compliment.


Cerese Vaden, Tempe, AZ

 

http://web.cfa.arizona.edu/2d/vaden.html

 

Cerese’s creative research challenges widely held concepts of media specific contexts.  Exploring the intricate and fluid margins of memory and identity, she addresses in her work the nature of interpersonal connections.  Drawn from a rural upbringing, Cerese’s work attempts to investigate social and familial constructs, as it questions and illuminates shared identity and individual autonomy.


John Armstrong, Phoenix, AZ

 

http://johnarmstrongartist.wix.com/art

 

A Master printer, artist, exhibition designer, and fine-art framer, John Armstrong is co-founder of Armstrong-Prior, Inc. a multifaceted arts business encompassing fine arts printing, publishing and arts brokering.  Armstrong along with his wife, Joan Prior, have curated some of the most prominent private and corporate art collections in Arizona.  A former museum director, curator and teacher, Armstrong now devotes his time to creating his own work and collaborating with other artists in his printmaking studio, which is located in Phoenix, Arizona.


Joshua Kolbow, West Bend, WI

 

http://joshuakolbow736.wix.com/artist

 

Joshua Kolbow is a 2011 graduate from University of Wisconsin – Stevens Point with a B.F.A focusing on Drawing and Printmaking.  Heralding to the precision and composition of Renaissance and Baroque masters such as Durer and Caravaggio, Joshua fuses Renaissance draftsmanship with graphic-novels’ dynamic narratives and forges compositions with forceful satirical motives.


Eung-Won Suh, Seoul, South Korea

 

   I am an original Seoulite having been born and raised in the ever- changing city of Seoul. Having grown up in the metropolis, I have always had a yearning for nature. In my teens, I became captivated by the various colors and intense contrasts of Henri Matisse and decided to become an artist. It has been almost forty years since I decided to walk that path.

 

   The various attitudes and feelings that the historical events such as the Korean War and student demonstration have instilled in me, and provide the basis for my works of my everyday surroundings (family, travel, meeting, culture and so on). Just like my subjects, I used common, easy to obtain materials (ready-made, objects, junk and so on) to make paintings, printmaking, drawings and even plastic works without being constrained by a specific genre.

 

  My works are not ‘representation of the subject’ but ‘moderations of the subject’ or ‘transformation’ using expressionistic and shaped canvas. It is commonplace for me as a normal artist to take commonplace subject to express commonplace, everyday life. 


Deb Oden, Savannah, GA

 

http://www.lifesizepress.com/

 

My work is about lines and how line and etching can be the subject not just the process of a work. Tally lines speak to the nature of building, of putting one foot in front of the other, of the rituals of daily life. The raised line of the intaglio process is more substantial than a surface mark. It has more resonance because of its subtlety and its small progress from the plane of the paper. It becomes more than itself. 
When using these lines to build an atmosphere, the effect is soft yet seductive. Horizons, surfaces, layers, and canopies—calm waters and rough seas to travel through and to float upon. Weather. I juxtapose this suggestion of depth and space with folds and creases in the paper. The size of the work and the bombastic mark-making proclaim strength, boldness and resilience, while mars on the surface and to the paper suggest frailty. 
My work asks the viewer to enter into a relationship with water. Our need and attraction to water is undeniable. Water—the life giver, the life-taker. My viewer either drowns in or floats upon the water in my work, is either assaulted by or thoughtfully contemplates the plunge into vaporous substance. 
Standing on a cliff in a tropical cloud forest in Costa Rica, I myself longed to jump into a pool of clouds, a leap of faith that would have been fatal as the fall would have been several hundred feet. I knew the danger, yet felt tempted by the hazy substance that made the cloud forest special. They looked like they would hold weight, so dense were they. I wanted to be on the clouds. I wanted to be in them. I wanted them to be material, yet I was aware of the frailty of my human condition…so I turned on my heel—giving up the experience—and walked down the mountain. 
For myself, the worst conclusion to this life would be to have left no marks, to have not shared, or to have slurred-over the opportunity for great flight. So I leave wild marks, too drunk ones, and too violent or too passionate ones. I leave sometimes ill, but typically well-intentioned ones. Often, the mark is at once, strikingly beautiful and sinfully ugly. The world itself is as horrible as it is filled with beauty and my marks teeter back and forth between joy and pain in a way that intensifies the flavor of the whole. My body is a vessel for navigating these experiences. My heart looks to the clouds, but this clumsy fumbling in the muck is necessary. It is how I build my ship.


Julia Goos Pence, Portland, OR

 

http://www.juliagoospence.com/

 

The history of every country begins in the heart of a man and woman....and now the old story has begun to write itself over again. -Willa Cather

 

History is often considered a record of the past.  However, history is both constructed and deconstructed, resulting in gaps in both time and our understanding. Consequently, we are left with traces of the past and fragmented evidence of an earlier time. Existing historical evidence could be documents, letters, artifacts, remnants, books, buildings, etc. These materials, distanced by the passage of time, often leave us with voids in our comprehension. In my studies and experiences with these histories, I have found the presence of gaps to be the most interesting aspect, allowing for what Carolyn Steedman calls the "process of ideation, imagining, and remembering" to become a key part in our reconstruction of a historical narrative. The reconstruction of history and narrative is what I try to visually reproduce in my work, resulting in a dual recognition of how we become aware of history and how we become aware of our own participation in the construction of history. Like an empty page in a novel that we are left to fill in, history allows us to take part in the writing of our own version of the past. I regard history as not exact, specific, or necessarily true, rather that history is negotiable, interpretable, and ever changing.



 

Kristen Martincic, Columbia, MO

 

http://kmartincic.com/

 

My recent prints, sculpture, and installation explore the connection between the body and water.  I use bathing suits and environments associated with water to reveal the fine line between public and private, intimacy and exposure, skin and clothing.  My artwork uses subtle hints of awkwardness and longing to communicate the honesty and beauty of the everyday, and to make the viewer keenly aware of their own sense of self.