Multi-talented Member Artists

One of the best things about Printmakers (aside from the view out our studio windows!) is being able to immerse yourself in so many different styles of printmaking during a single visit. And now, for a limited time, it gets even better.

"Single Pair," Carolyn Witschonke (2009), oil on canvas

In addition to being printmakers, each of our member artists has a gift for other mediums: oils, pastels, acrylics, pencil, papercraft, and collage.

"Tree," Phyllis Cohen (late 1970s), acrylic

Through the end of February, we’re exhibiting these other works along side prints in a show that reflects the unlimited range of creativity of our members.

Connie Grace, colored pencil

Prints and Other Works, January 1 – February 29th, 2012 at Printmakers Inc., Studio 325 at The Torpedo Factory, Alexandria, VA.

In Our Gallery: Relief and Variation Of

Member Norma Pfaff displays a wide range of possibilities using the relief method of printmaking in her solo exhibition, Relief and Variation Of, showing in our small gallery through the end of February.

Norma’s work includes hand-colored prints, rainbow rolls, and multi-block prints. Her prints are pulled from linoleum cuts, woodcuts, gelatin, and styrofoam plates. She also works with chine collé and collographs.

"Shellie's Hood II," Norma Pfaff (2010), linocut and chine collé

Stop in for a little “relief” from the cold and take in Norma’s lovely show!

Relief and Variation Of, January 1 – February 29th, 2012 at Printmakers Inc., Studio 325 at The Torpedo Factory, Alexandria, VA. Reception and opportunity to speak the artist on Sunday, February 5, 2-4 pm.

In Our Gallery: Diptychs, Triptychs, Tetratychs

Member Maggie Stewart‘s abundantly creative work is on exhibit through October 30 in our gallery. To honor her theme of multiples, Stewart selected a mix of new and existing work for her solo show.

What is a tetratych, you ask? Most art patrons are familiar with the terms diptych and triptych. Instead of two or three pieces of related art installed together, it is four.

"Spring" by Maggie Stewart, mixed media print

"Summer" by Maggie Stewart, mixed media print

"Fall" by Maggie Stewart, mixed media print

"Winter" by Maggie Stewart, mixed media print

The grouping of individual yet related works of art goes back a long way in art history. It was common to find polytychs in Medieval and even Renaissance churches.  The individual panels or pieces were hooked together for installation, then separated  for transport to other churches and venues. This enabled church artists to work big without creating cumbersome pieces to move. The most common location for these was at the altar. A visit to a medieval church still reveals these beautiful works of art.

Inspired by this tradition, Stewart has created pieces that can be moved easily and installed separately or hung as one large work of art. Stewart is adept in many different media. She might make a collage from prints or paintings, or even combine the many printmaking techniques that she is so facile in using. For this show there is a cross-section of styles and techniques.

On display are woodcuts, dry point etchings, color etchings, monotypes and some very recent explorations into transfers. The show is even punctuated by a related drawing or painting. The idea of a polytych very well supports Stewart’s method of working in a series. There is an intercommunication among the pieces, as well as a linear story telling.

Stewart’s style and themes reflect diverse skill set she acquired to teach high school and middle school. Stewart started out as a painter and went on to earn her teaching credentials. It was through preparing to teach that she learned a variety of art techniques as well as crafts such as pottery and jewelry. During this period of her education, she was first exposed to original printmaking.

Stewart loves to experiment with the techniques she has acquired throughout her career and often incorporates more than one in her work. She starts with a concept or a drawing, and then allows a conversation between herself and the work, often taking the piece in a totally different direction from the original intent.

"Bride" by Maggie Stewart, woodcut print

In this exhibition, there are  two woodblock prints on display. Stewart was taken with the original shape of the woodblocks, which brought to mind a wedding couple.

"Groom" by Maggie Stewart, woodcut print

Seaside Triptych is a color etching and aquatint. The scene is a view of the sound behind her house in the Outer Banks in North Carolina. Fortunately, Stewart took photos because the view precedes the development of houses and mansions, and no longer exists.

Photos taken from a trip to an island off Mexico served as inspiration for Morning, Noon, and Night. Stewart first made a drawing and then made that into a dry point print.

When asked about what comes next, her reply was, “Lately I have become fascinated with different image transfer methods and have experimented with old prints by using the image from past prints, drawings, or photos. I have added these to new work or to older prints to create new and exciting imagery.”  Two of these are in the show as diptychs.

Please join us for Maggie’s opening reception on Sunday, September 11,  2-4 pm in Studio 325 at the Torpedo Factory. Her show runs from September 3 through October 30, 2011.

In the Studio With Carolyn Witschonke

This month, we visit with Printmakers member Carolyn Witschonke as she works on a new set of prints for an artist book.

Printmakers Ink: What are you working on here?

Carolyn Witschonke: This panda print is part of a series of six different panda images which I will be using for an artist book that I am preparing.

Carolyn Witschonke's panda aquatint, fresh off the press

PMI: Why pandas – what was your inspiration for these prints?

CW: The inspiration for these images came from a relationship I had with a panda teddy bear I had as a toddler. After recovering from a serious illness I was left frightened at night and suffered from night terrors. To help me through this, my mother asked my panda, Sammy, to protect me during the night. I trusted him and my nightmares went away. While doing research for this project I discovered that in China the panda is a symbol for protection.

PMI: What technique are you using? Tell us about the process.

CW: For this particular series, I’m using aquatint. First, a fine layer of spray paint is applied to the zinc plate to create a resist that will repel acid. I incise my image with sharp tools into the paint layer to expose parts of the plate through the ground.

Carolyn Witschonke preparing her plate for "Panda"

Before dipping the etched plate into acid, I coat all of the areas that I don’t want exposed with an asphalt-based “stop.” When I dip the plate into an acid bath, the acid bites into the zinc and creates a permanent line. It’s these grooves that will trap the ink for creating a print. The length of time that the plate is exposed to the acid determines the “weight” of each grove, and therefore the light and darkness of the image. This is done repeatedly until I am satisfied.

Carolyn Witschonke preparing her plate for "Panda"

I then remove the resists, ink the plate, and remove excess ink with a tarleton cloth. For this print, I’m using dampened Rives BFK. To pull the print, I place the plate directly on the press bed, layer the damp paper onto the plate, place a layer of blankets, then run the whole thing through our etching press. The damp paper picks up the image to create the final print.

The inked plate on the press, ready to print

PMI: How many prints will you make?

CW: I’m pulling an edition of ten for each image, in addition to the book.

A freshly-pulled print still on the press

PMI: What are you working on next…any big projects on the horizon?

CW: I am concurrently preparing for my solo show at Printmakers that will take place in May and June of 2012.  The title of the show is Out of Africa and will feature prints and watercolors inspired by my recent trip to Botswana and  Zimbabwe.

Carolyn’s work, along with the rest of Printmakers’ work, is on view now in our current exhibition …And The Living Is Easy through the end of August.

Summertime…

…and the Livin’ is Easy is the all-member exhibition in our small gallery now through the end of August. Easy breezy pieces that catch the laid-back spirit of summertime make for an inviting hot afternoon pause. Why not grab an iced tea or coffee and stop by for a visit?

"Tattoos" by Mary Morrison, etching

"...and the Livin' is Easy" all-member exhibition

"...and the Livin' is Easy" all-member exhibition

…and the Livin’ is Easy
All member show
July 1 – August 31, 2011
Studio 325 at the Torpedo Factory
11 am to 6 pm daily

Heat Relief: Mary Morrison’s Refreshing Work

"Title," Mary Morrison (2011)

Come get relief from the heat by stopping by this month’s solo show by Mary Morrison: Water, Water Everywhere. You can’t help but feel refreshed and cooler as you gaze at her monotypes of rushing water, crashing waves, and serenely floating boats.

So grab yourself an iced drink, then come sip and take a dip into our gallery. Now through the end of June, Studio 325 at the Torpedo Factory.

Hello and Goodbye

We’re saying hello to new members and farewell to others, these days at Printmakers.

Goodbye to…

Long-time, esteemed member Cora Rupp is now a full time resident of Hilton Head, where she’s taking the local art scene by a storm.

Black by Cora Rupp

Paralleling her painting career for twenty years was the challenging administrative position as Executive Director of DC area The Art League. She retains her status as a juried artist of the Torpedo Factory and is now a lifetime member.

Cora’s enhanced monotype “garden” continues to grow beautifully, which you can visit here and here.

Kelly O’Brien, who moves this summer to Germany for a few years.

Grace in Full Bloom (detail) by Kelly O'Brien

In addition to immersing herself in the local art scene, she’s looking forward to getting involved at the birthplace of the printing press itself: the Guttenberg Museum in nearby Mainz.

Kelly joined Printmakers last May, immediately after jurying-in as a Torpedo Factory artist. She retains her associate artist status while away, which means you can continue to follow her work here and here.

Hello to…

Norma Pfaff, who most recently was a studio artist at Lorton Workhouse, joins us starting in June.

Model I by Norma Pfaff

Norma was a member of Washington Printmakers Gallery for five years, has been exhibited in national print shows, and she has participated in the Washington Area Printmakers  juried calendar since 2000.

Sunny Side Up by Norma Pfaff

Ruth Corning, who also joins us in June.

Tree I by Ruth Corning

After years of painting and silk screening, she now finds etching very liberating.

Ruth explains of her process, “Very often one of my plates begins in one direction and finishes in a very different place…sometimes I will put a plate that I have finished printing into the acid and burn off most of the image (to) etch a very different image over the shadow of the first.”

Critics by Ruth Corning

For Ruth, recycling can be fun.