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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

Click on Picture to view enlargement
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
Click on Picture to view enlargement


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