All posts tagged: wood

Power sanding panels with Marjorie Welish

Marjorie Welish hired me to sand 12 wood panels down from old paintings to new slabs she intends to paint on. Her work is concerned with a search for post-modern primary colors ; “what would be a post modern blue,’ she asks while we work together on the wood panels. The paintings I am sanding away are covered with black and white grids and areas of red, yellow, and blue paint. They are reminiscent of Mondrian’s color fields, interesting because of her use of shades; she has included two shades of red in one painting : I had an opportunity to briefly explain my practice to the artist, who quickly engaged me in conversation regarding the attentiveness of line. She referenced Hercules Seghers, who’s show of etchings just came down at the Metropolitan. “That man can think,” she says. ‘He is attentive to each line.’ I nod and tell her that “I find my attention comes and goes, I have areas drawn with a lot of focus and others where my mind wanders. I wonder, now, …

can i show you something

met with ambie abano after seeing a video of her printmaking. she works wth large wood blocks and carves bodies into the blocks. the blocks are printed on paper using a spoon, and some are printed on cloth. her work is displayed in the philippines, where she is from, and she says in the video her work is about confronting death. i showed her the image transfers i made on saturday night, this time working with a cutout of the shoecrab. the images are small versions of what will later be large prints. the shape of the crab on its side is printed on fine japanese paper, i believe leftover kozoshi from the image transfer class with golnar adili. ambie didn’t ask what the shapes were, but she suggested pronto plate lithography after i explained the image transfer process. she explained the sponging method to me, which i recognized from college, and suggested litho paper. I’m not sure what litho paper is… ‘do you like pattern,” she asked me after seeing my experiments. yes, i …

diana morales G

is an artist from Mexico City. I was connected to her through a friend at totemic17, an artist collective focusing on contemporary woodcut printmaking. Diana’s work features architectural forms, the matrix she creates is modern and personal; I am interested in the artist behind the lines. The lines themselves are confident and loose, an honest representation of urban space. The tool lifts from wood, allowing a pause, the construction of real space. We may be looking at the same time, the graphic render of our repetitive environment is appealing to me. I am looking at her addition of curve into a grid, something I have yet to practice. I wonder of the differences in city, she is drawing in Mexico City, I am drawing in New York. How do I allow pause in the narrow forms of New York? Or, more importantly, where is there pause in New York? Perhaps it is a matter of time/of day …Back to the studio, will find some wood… Images are copy and pasted from the artist’s facebook, 2016