Collins Gallery update of image samples from the 20 Portland print artists

The High Art of Hand Pulled Print Making by Portland Oregon Artists

Mission Statement: The Collins Gallery interpretive exhibit is a sampling of Portlands master hand pulled printmakers showcasing limited edition hand pulled prints alongside materials used to create numbered and signed fine artworks. Our purpose is to educate the public and collectors to gain appreciation and knowledge about the array of techniques and tools used that set our work apart from computer or mechanized “reproduction” copies.

Location: The Collins Gallery on the 3rd floor of the magestic downtown Multnomah County Library
Install Date: June 21st 10:00 am – 5:00 pm June 22nd 10:00 am – 1:00 pm
Exhibition: June 24 thru September 3rd 2017
Reception: July 1st, 2017 2:00-4:00 p.m.
Break-down 09/04/17-9/5/2017



Marcy Baker – Stencil, Relief Printing & Collage

Artist Statement: http://www.marcybaker.com/profile/
My collage process begins by applying translucent layers of ink onto paper with brayers. Botanically inspired patterns are created with stenciling and relief printing techniques. The papers are set aside to dry. Next, acrylic glazes are applied to the patterned papers, absorbed into areas where the paper has not accepted ink and blotted dry where they remain on the surface. These glazes tend to create subtle color shifts and unify the patterned papers. The papers are then adhered to wood panel and additional hand-printed papers are cut and arranged on top. Collage requires an intuitive process of pulling apart, layering, composing and piecing back together. My work explores this organic tension through play with pattern, line and color, uncovering unexpected relationships and the balance between seemingly disparate elements.



Jonathan Byxbe – Woodcut Reduction

The printing press was created for the purpose of mass-producing information. It was used to spread propaganda and revolutions. I am compelled to use this machine combined with hand carved blocks of wood to expose humanity to a mirror and provide hope. The ceaseless array of variety and persistence of life on this planet can provide hope, that our own species can stop spreading corruption throughout our environment and ourselves.



Reed Clarke – Monoprint with Etching

Website: www.reedclarke.com
Reed Clarke was born in Long Beach, California in 1947 and grew up in the Los Angeles area. He attended art classes as a teenager and after graduating from college in Portland, attended the University of Iowa where he earned a Master’s of Fine Arts degree in 1972. While at Iowa he was influenced by the work of Mauricio Lasanski. After graduate school Reed spent a year living in Europe, with extended periods of time in England, France, Holland and Scotland. Upon returning to Portland in 1975, Reed continued to study print making and painting for several years with George Johanson and Jack Portland. After teaching for a number of years at Oregon Episcopal School, he returned to graduate school and obtained a Ph.D. in counseling psychology from the University of Oregon. At present, he divides his time between his work at Providence Hospital and painting.



Susan de Witt – Photopolymer Gravure Prints

Prints: http://www.susandewitt.net/shop/

Susan was born and raised in Canada. Her interest in photography began in the year 2000 after viewing a show of work in a gallery on the Oregon coast that she fell in love with. She began her photographic training at the Photographic Center Northwest in Seattle, and took many courses and workshops for the next four years. Her work was initially influenced by contemporary photographers such as Mary Ellen Mark, Bruce Barnbaum, Christopher James and Shelby Lee Adams. As her work evolved, she became interested in the Lith process and has continued to use this darkroom technique for the past 7 or 8 years. She studied Lith under Tim Rudman, the master of this process. Susan’s shooting and printing style portrays her signature visual appearance in the final outcome of each photograph. Over time, she became solidly influenced by both Lillian Bassman’s and Sarah Moon’s work. Susan’s work has been collected and shown worldwide. Shown here are a select few destinations where her work has been exhibited.



Eleanor H. Erskine – Monoprint/Etching

Website: http://www.eleanorerskine.com/etchings

Eleanor H. Erskine is an associate professor at Portland State University specializing in printmaking. As an artist, Eleanor uses intuition, reflection, and experimentation to support conceptual material investigations in printmaking. She is intrigued with defining and redefining multiple approaches and processes as the field of printmaking grows more expansive, inclusive and significant as a major contemporary art forum.



Jenn Feeney – Monotype

Jenn Feeney is a Portland based printmaker. She started her printmaking career in 2006 when she was introduced to monotypes in a workshop and knew she had found her medium. Having grown up around a commercial print shop that her parents owned and operated, she was very familiar with the smell of ink, the feel of paper and the sound of the presses. You could say there is ink in her blood.
Jenn’s focus is monotype, also known as the painterly print. Using a piece of plexi as her plate, she applies the ink using brayers and brushes. She then manipulates the ink using solvent, rags and various tools. Her approach is intuitive… never really having a plan, but instead letting the ink colors she chooses to lay out and the tools around her inform the work. Her work has been described as organic and cellular and resembling underwater scenes or unknown planets or microscopic views.
A member of Bite Studio in SE Portland, Jenn also organizes the Portland Artists Social Guild and participates in various shows around Portland. She will be celebrating her 17th anniversary at her company Kore Group this year.



Patrick George – Letter Press

This work represents a step in the stream of my ongoing exploration of the artistic intersection of chess and letterpress. The work began years ago when Fisher was sitting opposite Spaasky, bringing chess to the attention of mainstream middle-schoolers. I was learning letterpress in school at the time, wondering if I could ever find a chess font. Soon thereafter letterpress was supplanted by classes with teletype terminals that communicated with the school district mainframes; chess was soon computerized, and the old aesthetic of the printed page was overwhelmed by digital media. Chess fonts were ravaged by arts and crafts, or worse melted into bullets.
My interest in letterpress chess was revitalized when I discovered the chess publications of Marcel Duchamp. His rubber stamps of chess figures reminded me that even if those old letterpress chess fonts were lost forever, there were enough printer’s ornaments (“dingbats”) left to suggest a new approach to chess figures. Once I had resolved this aesthetic, the stream of my imagination extended into an evocative of banter between a king and queen who question each other’s intentions through the use of tropes. Next in this series will be the Bishop, Rook, Knight, and Pawn, re-imagined as the four conic sections, each with a new trope of its own.



George Johanson – Reduction Print

Color reduction prints involve using one block only. The first color is printed, then more of the block is cut away and the next color is printed. Each color is printed throughout the entire edition before going on to the next color. There is no going back. Part of the excitement in this method of printing is the adventure of layering one color on top of another as the print progresses and seeing what new relationships develop. It’s a somewhat mystical process.The block is being reduced by successive cutting at the same time the print is growing by successive layers of color.
Title of print: “Dark Umbrellas” reduction linocut 12” x 18”



Beth Kerschen – Composite Photomontage Etching

Artist Statement: http://bethkerschen.com/about/artist-statement/
Process language: http://bethkerschen.com/about/process/

In Beth Kerschen’s work, she blend architecture, urban details, and fleeting moments to tell a richly layered story not possible individually. Beth has always been fascinated with buildings and city elements in her home city and other urban centers during her travels. Now, she captures these elements with her camera: a retro neon marquee, the facade of an iconic theatre, a beloved local eatery, grand bridge crossings, and even a odd pile of bicycles. Beth uses a polymer photogravure etching technique to translate photographic elements into printed form and then combine several plates into a single scene. The composite scenes build a narrative that represents how she experiences the world in an attempt to create a feeling of nostalgia, permanence and personality.



Joseph Mann – Woodcut



Barbara Mason – Solarplate Intaglio

Artist Statement
Solarplate Intaglio Process

Barbara Mason is an artist/printmaker working in her own printmaking studio in Hillsboro, 17 miles west of Portland, Oregon. A lifelong artist, she began studying printmaking in the early 80’s and was immediately enamored with the medium. Barbara has been making monotypes since the early 80’s and starting about 1999 included block prints and solar plate intaglio prints in her portfolio.

Barbara’s interest in the solarplate etching process has sent her work in a new direction and the resulting etching multiples are done in editions of 20 or less. This original non objective work seeks to portray the balance in life as well as the choices made by us as humans.



Kelly McConnell – Linoleum Relief Prints

Artist Statement: http://kellimacconnell.com/bio
Process Language: http://kellimacconnell.com/process
Captivated by the wilderness since early childhood, artist Kelli MacConnell embraces a unique relationship with nature that continuously sparks her imaginative work. Exploring landscapes with careful observation, she translates her natural surroundings into richly detailed prints. For MacConnell, printmaking serves as a key vehicle in fostering a relationship between humans and the natural world. Through her creations, she strives to show how one person can both exist in civilization and remain connected to that which is inherently wild.



Tara Murino-Brault – Intaglio Etching

Since the beginning, symbolism has been a prominent theme in my work. Images such as trees, women, animals, hands, and religious icons communicate ideas about cultural power and powerlessness, spiritualism, mortality, and rebirth. I enjoy playing with opposing elements such as light and dark, reason and folly, or good and evil, and the interdependence of each to define the other. With iconic etchings, I create an illustrative approach to communicate at a deeper level and to engage people in a larger narrative beyond the image.
See Tara’s process video below:



Gail Owen – Reduction Linoleum

Website: gailowen.us

Gail is inspired by local NW flora/fauna and images and turns them into highly stylized colorful linoleum reduction relief prints. Reduction relief prints are a multi-color print process in which the separate colors are printed from the same block at different stages. Usually, the lightest color of the design is printed first, then the block is “reduced” by carving to the areas which the artist wants to print the second color from, and so forth. The disadvantage of reduction printing as opposed to printing from multiple blocks is that once the first color is printed, the matrix for it is destroyed in the creation of the printing matrix for the second color. It is impossible to undo mistakes.



Jane Pagliarulo – Collagraph

Artist Statement
Jane Pagliarulo, master printer and co-owner of Atelier Meridian, received a BFA in Printmaking from UMass at Amherst. From 1989 to 1996 she cut her teeth as a fine art printer at Hand Graphics in Santa Fe, New Mexico, where she printed lithographs, woodcuts, etchings and monotypes. She worked one-on-one in creative collaboration with artists who had tremendously varied conceptual and technical approaches. As a result she strays beyond the traditional boundaries of printmaking. In 1996 Pagliarulo co-founded a printmaking workshop in Hood River. In 2007 she co-founded Atelier Meridian, along with Barbara Mason. As master printer, Jane teaches printmaking workshops in monotype, etching, woodcut and encaustic collagraph, and performs contract printing of editions and assisted monotype sessions. Her own prints usually take the form of monotypes and collagraphs. She exhibits nationally and is represented in Portland by the Portland Art Museum Rental Sales Gallery and Print Arts Northwest, where she also serves on the Education committee.
Collagraph Process:
A Collagraph is a fine art, hand-pulled print that you create by collaging elements onto a plate and then printing from it. This is a process that explodes beyond the boundaries of printmaking! These techniques can produce subtle and mysterious marks, allowing for variable prints or editions. Combining monotype with encaustic’s textural elements takes it a step further, creating prints with depth and subtlety.
Matrices of wax are built onto plexiglass, by painting hot beeswax and manipulating the surface with fabric, carving tools and or a tacking iron, using traditional etching and incising techniques common to encaustic. While this plate cools, I roll thin, transparent layers of ink onto a clean clear plexiglass plate that will be printed first, as a monotype. Then we apply Akua soy based inks to the encaustic plate, and wipe free the excess ink with Tarlatan, which is a heavily sized cheesecloth. Inks could also be applied with a paintbrush or rolled on, relief-style, with a brayer. Then we run it through an intaglio press to be printed on paper. This particular approach to collagraph is unique in a variety of ways; the plates are ready to print in minutes, as opposed to waiting overnight for glue or Acrylic Medium to dry. Also, it takes advantage of encaustic’s natural resistance to moisture making it ideal for printmaking. Plates hold up fairly well if treated gently, and an edition of 10 or 20 can easily be created.
You can combine this technique with other print techniques such as Etching, Relief, or Photopolymer Intaglio.



Liv Rainey-Smith – Xylograph/Woodcut

Artist Statement: https://xylographilia.com/about-the-artist/

Liv Rainey-Smith is an artist specializing in hand-pulled xylographic prints. Her imagery draws primarily upon historic styles, folklore, dreams, and esoteric traditions. Rainey-Smith’s woodcut process incorporates a mixture of traditional and modern tools as well as a blend of European and Japanese printmaking technique. She pulls her own fine art prints in small editions on both paper and animal parchment.

xylograph. Noun. (plural xylographs) An engraving in wood, especially one used for printing. A print taken from an engraving in wood.



Nicole Rawlins – Intaglio

Artist Statement: http://www.multnomahartscenter.org/about-mac/instructors/nicole-rawlins/



Elise Wagner – Collograph

Artist statement: https://www.elisewagner.com/exhibitions/
Process language: https://www.elisewagner.com/encaustic-collagraph/
New work: https://www.elisewagner.com/collagraph-prints/

The physical wonders of the world sparks Elise’s imagination feeling compelled to respond through the creation of art. She thrives on the challenge of visually interpreting the sublime and all that we cannot see or comprehend. The narrative for her work initiates itself by way of navigating through the alchemy of its materials.

Encaustic is the ancient medium that combines natural beeswax, resin and pigment. With it, Elise has discovered ways to manipulate the medium to create surfaces that match the subject matter of her work, and visual intentions for depth and transparency. Encaustic’s texture, flexibility, instant drying time, and fragility yet durability, allows me to easily work as both an oil painter and a printmaker.”



Nanette Wallace – Monotype

Website: www.nanettewallace.com
Nanette Wallace grew up in rural Oregon and completed her BFA with an emphasis on printmaking at Oregon State University. She spent the bulk of her career as a Graphic Artist and became a boutique letterpress printer along the way.
In recent years she has begun developing a new body of artwork pulling from her past experience as a fine art printmaker while developing new skills as a painter. Her work is gestural and energetic, consisting primarily of monotype prints and paintings with a focus on figures and portraits. A large component for the inspiration in her work is derived from black and white photographs from the 1930s-50s. Many of these photos have faded with age allowing for a loose interpretation of the imagery with a nod to nostalgia.
Her monotype prints are created by inking the entire surface of a smooth plexi-glass plate with oil or water based etching ink applied via a roller. Then using rags and q-tips, ink is removed from the plate to create a subtractive image, e.g. creating lights from a field of opaque color. The image is then transferred onto a sheet of paper by pressing the two together using a printing press. Monotype printing produces a unique singular print; most of the ink is removed during the initial pressing. Although a subsequent reprinting is sometimes possible, it differs greatly from the first print. These secondary prints from the original plate are called “ghost prints”.



Wade Womack – Woodblock Reduction

Born and raised in Idaho, Wade studied design and printmaking at Boise State University. He currently lives in Portland with his wife Alisa and their son Finn. Wade works primarily with the reduction wood block printing technique. He feels art is a tool of expression. “I want the art to be unified in expressing an idea, a story. The line work, color, subject matter, all exist to express the idea. I want to effect the viewer in every way possible… intellectually… emotionally… physically. ”
Process
I use the reduction wood block print technique. Reduction is a multi-color printing process all done on the same block. First I transfer a reverse drawing of my image on to the block. Then a carve away the areas that will be white and using a brayer roll out the lightest color of ink. I place the paper on top and hand rub the back pressing the ink onto the paper. Next I carve away what I want to be the first color and print my next darkest color. I repeat this process for every successive color until it’s complete. I enjoy this technique for many reasons. One is that I can switch up the colors on different prints to create different color combinations using the same imagery, there by changing the overall effect on the viewer. I also enjoy the interplay