Black

Black, paper, 10.75 x 14 cm (4.25 x 5.5 in), 2020

re/search

“I am making a small piece of art for you and will mail it when I have it ready. : )

I was thinking about the colour black after we met in the park and quite frankly sat far too closely together. We were definitely not maintaining a 2m distance. I had no trouble thinking of other positive associations for black. In the black. Black Friday. Black tea. Black belt. Black Power. Little black book (lovers keep little black books, or is that rapists, not sure, now that I think about it). And thinking of how black is also enveloping and so black could be seen as comforting. Then there was “Black Out Tuesday” and there was some criticism about it visually creating a huge void because people were stupidly using the black lives matter hashtag, when the goal was to center and bring forward black voices. Then I thought about black also being an amalgamation of colour. Black is the absence of colour in the light spectrum, but when dealing with pigments black is all of them. So not a void, but a gathering of sorts.”
From an email dated June 5, 2020, edited.

Screen capture, Unceded K’ómoks Territory, google.com, June 7, 2020

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Squeegeerama – 2019

This summer I attended Squeegeerama. A week-long screenprint workshop in the Comox Valley at Wachiay Studio.

Bobby C. Martin was the guest screenprinter, and other artists were Max White (UWW), Klehwetua Rodney Sayers, and Emily Luce.

Emily and I worked on a 5 hour collaboration that we dubbed the Punk Print Posse.

Meditations on the Apocalypse

Meditations on the Apocalypse (v1), 1/1, two colour screenprint on rag paper, 33 x 45.4 cm (13 x 17.875 in), 2019
Meditations on the Apocalypse (v1.a), varied edition of 6, single colour screenprint on Maya Clairfontaine paper, 38 x 56 cm (15 x 22 in), 2019

Ridges & Valleys

Most of the day was spent in the studio pulling prints.

Learning the collagraph process involves making several test plates. The following three were printed from a test plate made from combed gesso.

Printed with stiff ink, intaglio wipe
Printed with an intaglio wipe, two colours (applied à la poupée), and chine-collé.
Printed with an intaglio wipe followed by a relief roll.

True-mouth & Greedy-goods

Dialogue between True-mouth and Greedy-goods, screenprint, edition of 14, 38 x 56 cm  (15 x 22 in), 2018

The title comes from a 1637 book by Adriaen Roman, Samen-spraeck tusschen Waermondt ende Gaergoedt. As an ethnically Dutch person I am also interested in the role of the Dutch in the development capitalism, colonialism, and the 16th to 19th century slave trade between Europe, the African continent, and the Americas.

Collage Set 1

Copy, collage on Hahnemühle Sketch (90lb.), 21 x 29.7 cm (8.3 x 11.7 in), 2015
Charge, collage on Hahnemühle Sketch (90lb.), 21 x 29.7 cm (8.3 x 11.7 in), 2015
Anchor, collage on Hahnemühle Sketch (90lb.), 21 x 29.7 cm (8.3 x 11.7 in), 2015
Wood Paneling, collage on Hahnemühle Sketch (90lb.), 21 x 29.7 cm (8.3 x 11.7 in), 2015
Common Blobs, collage on Hahnemühle Sketch (90lb.), 21 x 29.7 cm (8.3 x 11.7 in), 2015

Paradox

Paradox (suite), collage on rag paper, each 44 x 49.5 cm (17.3 x 19.5 in), 2015

Top to bottom, left to right:

  1. Paradox (There is no woman in Paris who has ever had surgery. Not one.)
  2. Paradox (She can no longer jet off at a moments notice.)
  3. Paradox (When I return a couple of hours later, Lily is arranging a huge bunch of blooms in a giant cream-colored earthenware jug. Somehow she also manages to simultaneously pour champagne for her guests, roast two chickens, make delicious fresh salads, and entertain the group with her tales from the road.)
  4. Paradox (Reveling in the belief that no matter how serendipitous or considered the path, nothing feels better than the find.)
  5. Paradox (I was a Park Avenue housewife, with two children and a cook.)
  6. Paradox (In order to resemble the selves we love a bit longer.)
  7. Paradox (In the yellow gallery of her family home in Paris.)
  8. Paradox (Elegant Restraint. Anything but shy and reserved.)

Complicity

Complicity (foreground) and Suggestions (a.k.a. How To Be) (background), installed at CVAG, 2015

This work/project invites people to also draw/trace. Materials and instructions provided reflect the same process used for other work in the exhibition.

Image courtesy of CVAG
Image courtesy of CVAG
Image courtesy of CVAG

Details after 5 weeks in the gallery.

More Ladies, Less Bitches

More Ladies, Less Bitches (#1), edition of 3, screenprint, 44.4 x 49.5 cm (17.5 × 19.5 in), 2014
More Ladies, Less Bitches (#2), edition of 5, screenprint, 44.4 x 49.5 cm (17.5 × 19.5 in), 2014
More Ladies, Less Bitches (#3), edition of 3, screenprint, 44.4 x 49.5 cm (17.5 × 19.5 in), 2014
More Ladies, Less Bitches (#4), edition of 3, screenprint, 44.4 x 49.5 cm (17.5 × 19.5 in), 2014
More Ladies, Less Bitches (#5), edition of 3, screenprint, 44.4 x 49.5 cm (17.5 × 19.5 in), 2014

Carbon Copy

Carbon Copy, carbon tracing on paper, each 29.8 x 21 cm (11.75 x 8.25 in), 2012

In order:
4 (Le Corbusier, Villa Savoye, 1928-30)
24 (Day bed, attributed to Lilly Reich, 1931-37)
4 (Barcelona ottoman designed by Mies van der Rohe for German Pavilion, Barcelona, 1929)
12 (Arne Jacobsen, Egg chair, 1957)
10 (Mies van der Rohe/Lilly Reich, Floor lamp with silk shade, 1930
5 (Gerald Summers, Lounge chair, 1933-34)
26 (Giandomenico Belotti, Chair (homage to Theo van Doesburg), 1980)
2 (Isamu Noguchi, table, 1947)
16 (Mies van der Rohe/Lilly Reich, Square tea table, 1930)
14 (Marcel Brewer, chair, 1923)
27 (Mies van der Rohe, Cantilever chair, 1935) – Detail
27 (Mies van der Rohe, Cantilever chair, 1935)
5 (Peter Murdoch, Child’s chair, 1963)
6 (Plazzetti, 2008)
18 (Eero Saarinen, Tulip chair, 1957)
9 (Marcel Brewer, Wassily chair, 1925-26)