exhibitions:
2018 November 24 - December 19, The Secret Garden, Gallery Grafiska Sallskapet

2018 May 25 - 27, The Mobile Post Card Show, Insitut for Alles Mogliche, Art Spring Berlin, Germany

2018 April 7 - 28, Grafiska Sallskapet Here and There, Husby Konsthall, Stockholm, Sweden

Not long after university, in the early 80's, I worked at a furniture company in a tiny advertising department. We created black and white product illustrations for newspaper ads, using technical pens and drafting tables to draw the images. We used what would become in a very short time obsolete methods for newspaper ads. The world was on the cusp of a huge change, computer generated image-making was about to make its entrance with programs like the Xerox star and the portfolio of Adobe programs. But, I feel lucky now that I was learning a disappearing craft: preparing art for black and white offset production. It turned out to be almost identical to preparing art for screen printing.
The only difference in many of the techniques is the surface of the medium. I liked finding solutions for creating halftone drawings with pebble board and drawing techniques; I would use then, and I still use now, many of the same solutions for print making; it seemed the two pursuits shared common techniques and technology. Although I shifted my focus and went on to paint with oils for many years, I always maintained that interest in working with screens. And so I began to work with screenprinting again in 2008 after a a 25 year hiatus.

Maps
...In the spring of 2015 The Thompson teaching gallery at the Cambridge school of Weston had a call for artists for an exhibition, "Nowhere, Everywhere" seeking visions of utopia and dystopia, and it became the source for making new images. I was intrigued with becoming newly acquainted with the word dystopia and began using satellite images available on Google Earth for creating drawings of the two largest refugee camps at the time. I could not think of any better idea of dystopia. The issue of homelessness, of overfull refugee camps and mass migration turned out to be a pressing reality in Europe over the summer and fall months, the winter of 2015 and well into 2016. The subject provided an increasing source of material for examination: the perplexities of border creation, the upheaval of border creation, dissolution, the birth of states, the death of states. The physical, emotional and cultural imprints of borders, the factor of time as a punisher, the factor of chance as a punisher and savior. The world over, the refugee crisis would become the focus of artists everywhere, and large exhibitions were often dominated by this theme during this time.

Letters...
But, I also wanted to retain a sense of validity and personal connection whilst examining this issue. I felt also that I wanted to examine those things that I am better qualified to examine, in other words, my own connection, tiny as it was, to this unfolding event. Try as we may, there is always a point where our understanding of the experiences of others tips over into conjecture. I wanted to avoid that. I shifted my focus to the thoughts and reactions of we who are on the sidelines, who can do little but observe, or, send a donation or a letter. With the group of prints loosely called Sending our thoughts I explored the process of sending and donating within the context of this large event.

2018 I focused entirely on the letter as a disappearing form of media in two solo exhibitions. Paper correspondence kindled an interest in the symbolism of postage articles and other paper media objects that are quickly losing prominence in our everyday lives. The envelope is becoming a historical object, being replaced by the invisible workings of email and internet post. It is an image loaded with shared universal associations: anticipation, secrets within, sharing, expressions of communication. I have included books and maps in this examination as well, as they too are slowly approaching the realm of redundancy in our age of electronic media.

My dust covered blogg

February 2019
In January of this year I curated an international mini-print show at Husby Konsthall. It was the result of months of preparation and advertising on internet. We were delighted and honored that so many outstanding artsists responded with prints from as far away as Taiwan, France, Poland, the US, Australia and Canada, Among many other places. Featured here is the work of Polish artist Tonda Kinoko:



November 2018
I participated in Grafiska Sällskapets December group show with: A Secret Garden, the show by the same name.
I returned to the shadow box idea using printed stamps and letters.

October 2017

Freedom: Within the Scope of Technology.
Having had the vernissage October 7, this show will be on view until the 29th. There were a lot of intriguing questions we explored with this theme. Do artists experience more or less freedom with new tools such as Virtual Reality, new film and animation programs? What happens when all art is monitor based? What nature of work evolves from film, video, keyboard, new and obsolete programs and hardware as primary tools?

It was a fantastic opportunity to work with Teresa Wennberg and Raquel Meyers in this exhibition that I had the honor of curating and producing. I was immersed in the learning of VR presentation and building installations, among other things. It was a great experience and inspiring as well, I found some interesing inspiration for my own work.

Raquel has a collection of dynamic PETCHII films on her website:
http://www.raquelmeyers.com/


Raquel Meyers: Myopia of the future


Teresa Wennberg: installation with film and salt sculpture

July 2017:

The new Stockholm train terminal, Citybanan, has opened, and features works by 14 artists total, in two terminals. I'm looking forward to seeing it!
Cibybanan's page on all the artists:https://www.trafikverket.se/nara-dig/Stockholm/projekt-i-stockholms-lan/Citybanan/Citybanans-stationer/konsten-i-citybanan/

March 2017
It's inevitable that working with paper might present the challenge of paper cutting and with that in mind, I found the amazing work of the artist Andy Singleton, with this particular work, Dust Clouds in the Eagle Nebula. This image is a small part of a full room installation.
Nebula series
November 2016: I finally complete an application to The Wheaton Bienniale today: Printmaking Reimagined. It is always a challenging process to apply to a show. I have realistic doubts that I will ever be accepted, but I always find that calls for artists, and exhibitions proposals are a fantastic inspiration. This call is seeking works that experiment and push the boundaries of printmaking. It provided a great impetus for me to do just that. I experimented with printing on fabric, with expanding the use of book binding ideas, and with paper folding.
April 2016 A visit to Marrakech this month included the added surprise of seeing exhibits in the Marrakech Biennale Exhibits were housed in some of the cities historical landmarks.


The garden of artist Jacques Majorelle, bought and preserved by Yves St. Laurent, which houses the museum of Berber arts and crafts. Nigerian artist El Anatsui: large draped construction of wire and recycled materials in the historic site of palais El Badii. This piece was composed of a huge number of individually cut and folded aluminum cans and product packaging material, which spans the height of a two story building.


Algerian artist Eric Van Hove at palais El Bahia, a deisel engine covered in traditional building materials of North Africa: ceramic mosaic, fine wood veneers and an assortment of decoration fixtures.

March 2016 Mikael Kihlmans prints are featured at Husby Konsthall.

February 2016 Karby Gard art center features a portfolio from Grafiska Sallskapet, Swedens printmaking association. I am struck by the wide diversity of printmaking techniques! An incomplete list from the net:

Aquatint
Chiaroscuro woodcut
Chromolithograph
Drypoint
Engraving
Etching
Gillotage
Heliogravure
Inkjet print
Intaglio
Letterpress
Lift-ground aquatint
Linoleum Cut
Lithograph
Metal Cut
Mezzotint
Monotype
Photogravure
Photomechanical relief print
Photomechanical reproduction
Pochoir
Relief print
Serigraph
Silver print
Soft ground
Sulphur ground
Wood engraving
Woodcut
Zincograph


Caroline Färnström, Samlaren
December 2015 The shadow boxes of Joseph Cornell have always fascinated me with their mystery, delicate beauty and quiet emotion. Yet, despite the subtlety there is so much magic and theater in them. I always experience the feeling that a precious secret is being revealed just to me, that I am being given a rare view into a place in time, and a place in a very personal life experience. I am allowed to be a confidant, not of images but real objects, possessing all the richness, the weight and texture that only objects can have, all the while seeming somehow familiar.

Joseph Cornell: Celestial Navigation, 1958

Joseph Cornell: Untitled (Cockatoo with watch faces) 1948

And so I decided to start building a series of shadow boxes, unaware at the start that it would become a BIG project.
I am trying to make them easy to disassemble, having the elements interchangeable, and light. They are slowly coming together as component frames, with a foam board inner frame held in place by velcro. Now the question is: will they stay together?



September 2015

A month of unexpected travel: first, a visit to the Österlen region of Sweden, a great place to drive by the shore, look at art and eat - apples and wild boar sausages. It's also a center for glass art in Sweden. A show scheduled for October: "Mästerna bakom glaset", The Masters Behind The Glass. 12 international and Swedish glass artists will show in Österlen glass studios and galleries.


Badhotell in Österlen

Paris, and a closer look at the Louvre, discovering the often missed Annex of Decorative Arts. This place has treasures from the Art Nouvea and Art Deco periods. A walk through the Art Deco halls had me feeling like I was on the set of Poirot. But the most exciting part of the visit was the current excellent exhibition:Korea, Now! Korean ceramic, textile, paper and fashion artists.
Korea Now! at the Louvre Annex: below:


August 2015 Printmaker Ulla Karin Winter conducts a two day collography workshop at Husby print studio. Ulla is a fantastic teacher! She was also one of the artists in Husby's Nygrafik exhibition in 2014. I am delighted to have participated. In addition to collography we had an introduction to chine-collé as well. Thanks Ulla, for a great workshop!


Ulla-Carin Winter, Masonite Fabrik; carborundum intaglio, woodcut, 2013 fetured in Nygrafik

May 2015 New York-based photographer Jeffrey Milstein explores airports from above in amazing, large format photographs, left. I am drawing terrain elements and tent areas inside Al Zaatari from Google Earth satellite images, and struck by the sense of order and precision that appears with a view from hundreds of meters above.

I am struck by how much it contrasts with the reality revealed by photographs taken at ground level. The view from above presents a definition of place that explains and reveals in a way that the ground view does not.


Jeffrey Milstein


My entry to Thompson Gallery's "Nowhere Everywhere" International Print exhibition


Al Zaatari
April 2015 Board game imagery: image, below and to the left: "Virtue rewarded and Vice punished", and, directly below, a game with eggs from the Netherlands, 1800's:



And I have finally found instructions for the "Turkish fold", historically used in large maps and currently of interest to artists creating artist books:


This fine example created by artist Katherine Venturelli -
 

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