Ruby Yunis Parallel Universes and Parallel Universes II are still up in the exhibition Under the Sun, which is a selection of prints from the Sol Print Studio in Baltimore. Sol Print Studios is dedicated to creating solar plate etchings and using non-toxic forms of print making.
Please join us for Culture Blast on Thursday September 17th from 6:30 to 7:30 for a discussion on the different methods of print making which are employed by the Sol Print Studio.
A sneak preview from our upcoming exhibition, Under the Sun: Artists of the Sol Print Studio which will be open between September 4th and the 26th. Under the Sun highlights the recent works of 14 SPS artists, including Gloria Askin, Catherine Behrent, Oletha DeVane, Jane Eifler, Ken Houston, Joe Kabriel, Katherine Kavanaugh, Michelle La Perriere, Christine Neill, Ruth Pettus, Leslie Portney, Randi Reiss-McCormack, Soledad Salame, and Ruby Yunis. From landscape to text-based and figureative to abstract, the prints reflect an engrossing range in subject, while revealing the rich technical potential in solar plate etching and non-toxic printmaking.
Pictured above are two prints, the first from Randi Reiss-McCormack and the second from Ken Houston. Come by Hillyer on First Friday, September 4th from 6 to 9PM to get a peek at them in person!
The FINAL #Pulse15 highlighted artist is Arlington-based artist, Pam Rogers, whose work focuses on nature and botany in order to “explore how individuals nurture and develop relationships, societies and ideas and then create carefully crafted identities based in these themes.” She collects plant materials from all over the US as she travels to create her own pigments, paints, and dyes.
Allison’s pick is “After Durer” – “I own a piece of Pam’s that is very similar to this one, I believe made around the same time. Pam uses pigments and papers she often makes her self from plants she has grown or collected. This piece is so peaceful, and has a lovely sense of movement with the way the graphite is lightly applied across the panel. The faint application of the pigments and gestural lines reminds me of how everything is transient and fleeting, but can still be beautiful.” $400
HAS: How did the idea of appropriating commercial advertising techniques (as seen in your Billboard series) emerge in your work?
Linda Hesh: When I go to Gay Rights Marches, I am drawn to the handmade signs the protestors carry. It’s so personal, direct and often very clever. But they are only seen for a few moments as they pass by. I imagine what it would be like to have a huge marketing campaign using those slogans. That is when I decided to photograph billboards. Once I began shooting, and trying out various phrases with different photographs, I could see how the images would play off the slogans and visa versa.
HAS: Have you always worked in series? How did you arrive at that creative process?
Linda Hesh: I think all artists work in series whether they acknowledge it or not. You are thinking about a process, or a technique or a concept. Then you experiment with the presentation, which naturally means you do several pieces which then is a series.
HAS: From the Opinion Benches to the In The Garden series, text is an important part of your artwork. When did you begin placing text on objects?
Linda Hesh: 35 years ago.
HAS: Tell us a little about your background—you’ve worked in diverse areas, including jewelry design— and how those past interests have evolved into your current work.
Linda Hesh: In college I had a double major of photography and metal. When I graduated, I chose to focus on metal since it seemed I could support myself by creating a line of silver jewelry. It was the 80’s and many artists did interesting wearable art to make money. I also did one of a kind pieces of jewelry that were shown in galleries. This is an art form that is shown more in Europe than in America, but there are a few galleries here. In both the production line and the gallery work, words and phrases played a big part, whether actually in the work or as the title. I switched to photo based work after Photoshop was firmly established. It was much easier to print in color through digital means and I could alter the images. I started with a series about jewelry and what it means to decorate ourselves. From there, my concepts developed along social issues.
HAS: You’ve included two interactive artworks in your show. What do you believe is gained when a viewer is able to interact physically with an artwork?
Linda Hesh: It’s a direct communication between me and the viewer. They are included in the finished artwork and they seem to really appreciate this.
Hillyer Art Space: What drew you to the medium of collage?
Jason Yen: Money. I used to paint, but I didn’t like to clean my brushes. And I was tired of spending money on paint, spray paint, and canvas– I eventually switched to wood… I’m not sure of anything specific of what drew me to collage, but I guess I started to use it in my old work to give it texture. I then realized I could just keep combining different colors and patterns, to make an over-all color… I started to just use old magazines, junk mail, wrapping paper, etc. Then I just started to use cardboard as a base instead of canvas and wood. Usually you can find nice big pieces on the street… (Especially when someone buys a new TV.)
Hillyer Art Space: Given your preference for found materials, is being environmentally conscious important to your working process? Is your work commenting on mass consumption or the wasteful nature of our culture?
Jason Yen: It wasn’t originally, like I said, it was about saving money. However, I am proud of the fact that I am helping the environment in really teeny-tiny way… No doubt there has been a shift in our culture (especially in DC) to being more environmentally conscious. I’m sure that shift has been influential in my work.
Hillyer Art Space: What symbolic elements are revealed in the details of your collage?
Jason Yen: Sometimes there are things that I love, like, or am interested in. Sometimes there are small passages of text. Sometimes nothing at all… I like color and the patterns in magazines. I use a lot of clothing catalogs cause there is a lot of pattern in clothing design… I like to be clever with things when I can…
Hillyer Art Space: In your artist statement you stress the meticulous and lengthy process of making your collages. Could you elaborate on your working method?
Jason Yen: First, I draw the idea on the computer. Then I print it out, and decide how many layers of cardboard each part of the image will be. Then I cut out the print and paste it to cardboard. After it is pasted, I cut each piece of cardboard and begin to re-paste and re-cut it, to the amount of desired layers. Once I have everything layered and cut out, I glue it all together. Next, I start the colorizing process by cutting from magazines and catalogs. And I collage the piece. (This usually takes about the most time, sometimes I have to measure, cut and glue very small pieces.) After, this I clean up the piece, redrawing some of the outlines of the objects. Then I seal it, to protect it from light damage and to keep the collage in place.
Hillyer Art Space: What do you hope people will learn or gain after viewing your work?
Jason Yen: I really just want to see people smile. Maybe get the few social/political/comical views I have put into my work. However, sometimes there really isn’t anything important about a certain piece. It’s just to have fun, by the fantastic re-adjustment of everyday things. I want people to be more imaginative, maybe this will nudge them to do something creative on their own…
