Impressions/The Printed Image August 27

What is inferred by the word Impresssion as it pertains to a process in making art? Historically prints were utilized as a method for reproducing multiple images, exemplified by the Guttenberg Bible up through Andy Warhol's silk-screened portraits. Prints were a means by which to reach the mass public; facilitating global visual communication as well as making art, which was both affordable and portable.

There are many modes of printmaking including lithography, intaglio, serigraphy, wood engraving, linocut and etching, which focus upon the interaction of chemicals and pigments with a block, plate, stone, or screen. Through printmaking images can be reproduced in numbered editions or can exist as unique works of art (monoprints) which involve building on and transforming an original image with each print. In recent years, digital media has altered the world of graphic arts drastically, sometimes replacing the hand processes.

El Camino College Art Gallery presents 15 artists who expand the definition of printmaking in contemporary art through their unique vision and use of materials.

Yunsun Lee, Patrick Merrill, Laura Stickney, Richard Wagener, Medora Wildenberg and Thomas Wojak have as a common thread, the use of printmaking to create a multiple edition.

Yunsun Lee produces delicate sequential images of ice and vegetation through the lithographic process.
Patrick Merrill shows large-scale wood engravings depicting the 4 Horsemen of the Apocalypse.
Laura Stickney recreates her studio as gallery installation, incorporating historical prints, inspirational objects, and tools amongst her own etching and artist books.
Richard Wagener exhibits intimate black and white botanical wood engravings.
The mandala-like intaglio prints of Medora Wildenberg interplay pulsating abstract shapes with color.
Thomas Wojak works in mixed media with serigraphy, creating pieces, which involve memory and autobiographical material.

Jessica Dunne, Jocelyn Foye, Mark Greenfield, Betsy Lohrer-Hall, Robin McCloskey, Phyllis McGibbon, Kamran Moojedi, Annette Owens and Victor Raphael explore the unique print/impression, incorporating a wide range of processes.

The narrative monotypes of Jessica Dunne depict unpeopled landscapes and the dramatic use of solitary objects.
Jocelyn Foye establishes a surface, which serves as a print, capturing dramatic action, such as a martial arts demonstration on a floor of clay.
Through the lenticular process, which engages the use of photographic image, injected into a corrugated plastic substrate, Mark Greenfield examines racial perceptions.
An installation of Betsy Lohrer-Hall addresses issues of temporality and permanence. The piece includes weighty plaster soaked clothing and sheer body prints on paper accompanied by individual pages of printed word.
Robin McCloskey fabricates free-hanging banners with images based on environmental concerns, integrating pigment printed on gampi with hand painting.
Phyllis McGibbon moves into 3D with 4 Meditations on Saint Veronica, which are graphic rubbings on sheer panels resultant from etched copper rollers.
Kamran Moojedi produces large-scale plotter portraits of notable personalities such as Stephen Hawking and Nelson Mandela.
The highly colorful, mixed media monoprints of Annette Owens focus on themes of creation and destruction, time and chance.
Victor Raphael utilizes photographs of cosmic imagery overlaid with metal leaf resulting in singular large-scale digital prints.

What is inferred by the word Impresssion as it pertains to a process in making art? Historically prints were utilized as a method for reproducing multiple images, exemplified by the Guttenberg Bible up through Andy Warhol's silk-screened portraits. Prints were a means by which to reach the mass public; facilitating global visual communication as well as making art, which was both affordable and portable. There are many modes of printmaking including lithography, intaglio, serigraphy, wood engraving, linocut and etching, which focus upon the interaction of chemicals and pigments with a block, plate, stone, or screen. Through printmaking images can be reproduced in numbered editions or can exist as unique works of art (monoprints) which involve building on and transforming an original image with each print. In recent years, digital media has altered the world of graphic arts drastically, sometimes replacing the hand processes. El Camino College Art Gallery presents 15 artists who expand the definition of printmaking in contemporary art through their unique vision and use of materials. Yunsun Lee, Patrick Merrill, Laura Stickney, Richard Wagener, Medora Wildenberg and Thomas Wojak have as a common thread, the use of printmaking to create a multiple edition. Yunsun Lee produces delicate sequential images of ice and vegetation through the lithographic process. Patrick Merrill shows large-scale wood engravings depicting the 4 Horsemen of the Apocalypse. Laura Stickney recreates her studio as gallery installation, incorporating historical prints, inspirational objects, and tools amongst her own etching and artist books. Richard Wagener exhibits intimate black and white botanical wood engravings. The mandala-like intaglio prints of Medora Wildenberg interplay pulsating abstract shapes with color. Thomas Wojak works in mixed media with serigraphy, creating pieces, which involve memory and autobiographical material. Jessica Dunne, Jocelyn Foye, Mark Greenfield, Betsy Lohrer-Hall, Robin McCloskey, Phyllis McGibbon, Kamran Moojedi, Annette Owens and Victor Raphael explore the unique print/impression, incorporating a wide range of processes. The narrative monotypes of Jessica Dunne depict unpeopled landscapes and the dramatic use of solitary objects. Jocelyn Foye establishes a surface, which serves as a print, capturing dramatic action, such as a martial arts demonstration on a floor of clay. Through the lenticular process, which engages the use of photographic image, injected into a corrugated plastic substrate, Mark Greenfield examines racial perceptions. An installation of Betsy Lohrer-Hall addresses issues of temporality and permanence. The piece includes weighty plaster soaked clothing and sheer body prints on paper accompanied by individual pages of printed word. Robin McCloskey fabricates free-hanging banners with images based on environmental concerns, integrating pigment printed on gampi with hand painting. Phyllis McGibbon moves into 3D with 4 Meditations on Saint Veronica, which are graphic rubbings on sheer panels resultant from etched copper rollers. Kamran Moojedi produces large-scale plotter portraits of notable personalities such as Stephen Hawking and Nelson Mandela. The highly colorful, mixed media monoprints of Annette Owens focus on themes of creation and destruction, time and chance. Victor Raphael utilizes photographs of cosmic imagery overlaid with metal leaf resulting in singular large-scale digital prints. SUSANNA MEIERS Curator El Camino College Art Gallery

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JESSICA DUNNE
Burning Beach Chair, 11x17, 2000 Monotype	End of the N II , 18x25, Monotype

JOCELYN FOYE
Events On Clay:M.A.T., 2006 Performance with video documenttion	Fencing In Clay, 2006 Performance with video documenttion

KAMRAN MOOJEDI
Nelson Mandela,50x6, 2006 Plotter print	Untitled, 48x30, 2005 Digital print

LAURA STICKNEY
Aglaia, 2006 etching, 28" x 28"

MEDORA WILDENBERG
Helen at the Barre: A portrait pastel	Something Like a Star intaglio


PATRICK MERRILL
4 Horsemen of the Apocalypse,6"x12", 2006 Woodcut	5th of August:1945 Beginning of Empire, 36x24, Etching monoprint


PHYLLIS MCGIBBON
Veronica's Imprint (After Durer) , 32x32, 2004 Cord on silk	Again and Again and Over and Over (After Durer) , 4x1 3/4 and 10 1/2x2, 2004 Acrylic on marble cylinder


RICHARD WAGENER
Woodcut

ROBIN MCCLOSKEY
Sequoia Sempervirens , 2003	Bicycle, 18x17 1/2, 2001 photo-etching, aquatint, drypoint, monotype

THOMAS WOJAK
The Evicted Printer, 2002

VICTOR RAPHAEL
Planet Tribeca, 42x50, Chromogenic light jet print	Planet in Metal Field, 43x51, 2003 Chromogenic light jet print

YUNSUN LEE
Weeds, 26x50, 2007 Mixed media on panel	Weeds, 44 1/2x29 1/2, 2004 lithography, paint on gampi
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