IMG_0797Print maven, Seattle-based Brian Lane, has organised a portfolio for the Southern Graphics Conference in my favourite city, Portland, Oregon, that runs from 30th March to 2 April 2016. IMG_0776Entitled Dreamscapes: The Ebb and Flow of Time and Possibility, this portfolio asked artists to address their subconscious, where past and future collide.IMG_0801My dreamscape print is a linocut which I made last year, showing a woman’s face partly hidden and transformed by the petals of a white chrysanthemum. The chrysanthemum flower is from Asia, and white ones signify grief and bereavement, traditionally placed on graves. IMG_0777Lined up, the women and the chrysanthemums appear like masked warriors, eyes shut contemplating the past and protected against the future. IMG_0802

Dreamscapes Portfolio statement reads

 ‘Our subconscious provides unfiltered access to the storage vault of memories, observations, feelings, and the day to day minutiae that we absorb without knowing.  This storage is virtually unlimited, yet in the waking state we have trouble accessing this surplus of info and rely on our known thoughts and experiences to guide us.  However, in the sleeping state our brain is trying to process everything, resulting in manifestations that bridge past, present, and future realities into a subconscious soup of abstracted yet cohesive possibilities. Often we can barely comprehend what these dreams mean or why certain people, places, or memories have surfaced after being suppressed for so long. Our dreams and nightmares become the vehicle that travels down the vast pathway of our imagination.’

Participants include

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1. Brian Lane

2. Abraham Mong

3. Wuon Gean Ho

4. Kyle Huntress

5. Chris Dacre

6. Mare Blocker

7. Tyna Ontko

8. Chris Rollins

9. Travis Moorehead

10. Virginia Hungate Hawk

11. Amber Chiozza

12. Ashley Shumaker

13. Sean Smoot

14. Emma O’Leary

15. Nikki Barber

16. Ben Beres

17. Charlie Spitzack

18. Amy Oates

19. NateStottrupdd_09_pushing_print

Also at the SGCI conference, Marilyn Zornado and Barb Tetenbaum have coordinated a printmaking and animation showreel, which will be displayed on a video monitor in the atrium at the Pacific Northwest College of Art (PNCA), and at the Univ. of Oregon’s Grey Box Gallery. 33 of 55 submitted films were selected, spanning the entire range of print techniques and created by artists from all over the world. My linocut animation, Shift, which shows a ghostly dancing dress, will be there.

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Shift is on youtube: https://www.youtube.com/watch?v=LTyCksf-cCo

Grey Box Gallery, 24 NW 1st Ave. Portland, OR  http://whitebox.uoregon.edu/

22 Mar – 8 Apr, private view on 31 Mar 5–7pm

I wish I could be hopping on a flight to lovely Portland tomorrow to join in the fun… If anyone goes, please take some pictures for me!

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I just got back from a trip to the US where I spent time with many lovely friends and hung out in the forests and fields, forgetting about the hustle of London life. It was exactly what I was longing for: no near-death misses on my bike, no sirens all night, no tube strikes and city-wide roadworks: hurrah, instead the sound of the sea from my cabin at night, and lots of time outdoors. So I thought I would bring out my sketchbook, something that was a constant companion until I suddenly stopped a few years ago. One drawing a day, I thought, and I didn’t quite make it, but here are some of them.
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ForestIMG_3891_e

Grass Mountain

IMG_3892_eGrass Mountain
IMG_3893_eView of the sand spit from Cascade headIMG_3894_eView of Cascade head from the sand spit

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Sitka Center for Arts and EcologyIMG_3895Bus to Seattle, with annoying stranger who leaned on my arm the whole trip… ;(IMG_3882_ePrint Zero print studio in Seattle, run by Brian LaneIMG_3878_e

Brian LaneIMG_3879_e

Brian in pub

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Great show about disguise at the Seattle Art MuseumIMG_3897_e

IMG_5921_eThe rolling fields near Weston, OrIMG_5922_eIMG_5923_eSt Andrew’s Mission graveyard
IMG_5924_eOh the greyhound bus, next to prophets and veteransIMG_5925_eMo Osorio in LAIMG_5926_eDaisy and BongoIMG_5927_eJack Doyle’s cameraIMG_5928_eCabin in the forest
IMG_5919_eColumbia River GorgeIMG_3900_e

Hestia and MekoIMG_3899_e

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Greyhound, againIMG_3884_eOf course, many memories were undrawable, unphotographable, just nice to experience.

I was also fortunate to spend a few days in the beautiful Crow’s Shadow Press in eastern Oregon, which I first visited almost 10 years ago. It was great to catch up with friends, and breathe in the desert air, even though it actually rained there in August for the first time in years. I started to make a series of reduction prints which I am still working on now: here is a sneak preview.

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Wouldn’t it be great if this were an animation??

Hmmmmmmmmm, maybe.

The SGCI conference in New Orleans was a right bonanza.

Imagine over 1500 printmakers all partying in a town famous for its hedonism, fried food and jazz. Seriously, there are naked lap-dancers in the bars in the middle of the day!

It was amazing. The town is set on the banks of the Mississippi, a steamy grey thing.

Buildings are graceful and crumbling, and palm trees and huge spreading live oaks line the avenues, which still retain their French names.

Highlights for me were numerous. Willie Cole opened the conference with a keynote speech about his artistic practice which involves a method of mark making with a hot iron which he calls scorching, which in effect is a type of printed mark. His work was beautiful and playful, taking photographs of irons and making them into mask like faces, or using the ironed marks to make huge figure composites.

There was a great exhibition of prints by David Dreisbach, who was awarded the printmaker emeritus prize by the Southern Graphics council this year, in the Contemporary Arts Center.

I marveled at his narrative and compositional strength, all while tucking into perhaps the most delicious spread of food ever seen at a private view before. Appreciating art must be hungry work, seeing how much they’d laid out.

There were inspiring, ambitious and fantastic demonstrations especially the rubber stamp one by Sukha Worob who showed us how he cuts into foam board with a router set to 1/4″ depth and then fills the mould with a solution of silicone rubber composite called “Mold Max”

and some great silkscreen prints printed by Ernest Milsted with wallpaper paste and water soluble dyes in place of the traditional acrylics and medium, producing lovely prints all at a fraction of the cost.

There were some very impressive satellite events. I particularly liked Dirk Hagen’s broadside text speak haikus which he’d printed on letterpress and cardboard.

A lovely show of prints about New Orleans and the floods in the hippily named Healing Centre.

A nice set of prints in various portfolios were displayed in the hotel conference venue on grey pinboards and rotated daily; some of these were delicate and beautiful.

Also Midwest Pressed had a great show of silkscreen monoprints which were installed as a huge panel of floating heads of famous figures, skulls or Chewbacca.

This is my friend Brian Lane, from Seattle, who looks  a bit like Chewie.

Most notable for me was the Carnival of Ink set in an old ironworks factory to the east of the main town. This was a riot of printmaking activity.

Drive-by-press  printed T-shirts with skateboards (just inked up and jammed through the press with a foam blanket).

The main event was run by Wolfbat Press, and involved hundreds of artists who spent the week of the conference decorating box cars with collaged prints which were paraded them through the town on St Patrick’s day before setting them on fire.

Several studios ran various fun fair style games such as “Wrassle a printmaker and win a print for a dollar” which had me in fits of laughter.

I presented a paper on movement in print in the International panel which got some good feedback, if you would like to read the article then please go this page here,

then showed the animations Shift and Lucid Mask, along with a selection of prints at the open portfolio session,

which was a great time to meet other printmakers whose work I admire

Like Ben Moreau’s gorgeous etchings

Some print genius Marcus Benavides

Michael Barnes

Mark Bovey

And oh so many more…!