No description available.

No description available.

My oil paintings, glass works, and mixed media are abstract meditations on familial relationships and their boundaries. The interaction between colors and layers of pigment reference human interaction. I apply veils of colors, which obscure, alter, or blend into previous layers of color. These layers metaphorically reference how family relationships affect the person we are and influence who we become. I approach my oil paintings serially and often refer to them as sisters or a family. I often work on two or more canvases at a time allowing each painting to share palettes and a similar language of shapes. When I work this way, it allows me to explore different responses to an experience. The interaction of the paint embodies struggle, and new shapes and shades of color emerge as the boundaries of painted areas are dissolved or declared. I also layer color and pigment in my glass paintings. Here, I place finely ground colored glass onto clear glass sheets, then fire it, rework it, and fire it again. Reworking the glass allows me to build a history of layers, which I relate to the way that a person carries around a history of experiences. Lastly, in my prints, I use multiple stencils to apply layers of ink to conceal or reveal the history of the work and reference the ever-changing nature of relationships. This dance of emergence and disappearance of color relates to the forced kinship of family and calls to mind the levels in relationships we build with people, consciously or not.

My sculpture and prints are about dismemberment and the destruction caused by war. To address the high cost of war, I make works that present the threat of injury, amputation, and prosthetics. I use Classical Greek art history references to address contemporary political, military, and social issues. I include images such as Amazonian women, horses, and doves. These images are coupled with references to the damage caused by conflict. While my work concerns destruction, paradoxically, my process involves additive construction. I take a mixed media approach to both my sculptures and my prints, and use a wide range of materials and techniques. Hardware cloth, wire, and abaca pulp are staples of my sculpture. Craft foam, copy paper, and feathers are often used for my printing plates. I use mixed media because it symbolically parallels the fabrication of improvised explosive devices (IEDs), and the merging of human bodies with artificial limbs. My work addresses war in general but some motifs point to specific, current conflicts. I hope that my pieces will remind the viewer of the terrible toll war takes, and make them question the meaning of winning a war.

My paintings are a mediated autobiography focusing on fragmented, cropped or collaged elements derived from photographic sources. Banal scenes based on my experience growing up in rural Washington state are charged with multivalent interpretations via close ups, veiling and intentional obfuscation. Through these means, altered color and expressionistic paint handling, they subtly point outside of their beginnings as the photographic and personal and into a dialogue with historical and social sites such as punk music, abstract expressionism and existential literature.

Printmaking within the applied arts is an extremely diverse practice that can extend the concept of what a print can be. Rather than the dissemination of published images and text, in this context printed information is transformed into objects and materials, ceramics, textiles, tableware, clothing. Prints such as these are not ʻreproductionʼ they are ʻproductionʼ.Process is crucial to both printmaking and the applied arts and the determining aspect of production plays a vital part in defining the qualities of a work such as print-decorated ceramic objects. To work with a printmaking process in this sector requires interpretation, predictive foresight and a degree of ʻthinking-through-makingʼ to transpose an image into the physical world of materials and objects. Printmaking, specifically within the ceramic discipline, is often plagued by issues of integrity brought about by problems relating to ʻdivisionʼ, these issues include: - - The physical divisions between image and object - The divided tasks in production that can disrupt thinking and making - A division of perceptions surrounding the surface/form relationship that considers the surface as supplementary or artificial Commercial production has developed approaches and techniques to integrate surface and form, combat these negative perceptions and raise the value of this type of work. These methods are not, however, always appropriate or accessible to individual ceramist-printmakers working in the studio. How can this sector overcome these negative factors and adopt strategies that invest some value of visual integrity within production? The research project answers this question in two ways: A low-tech, accessible method was developed in the studio with the aim to offer a new practical approach that physically integrates complex ceramic forms with the printed image. The aim was to facilitate this unity at an early ʻraw-clayʼ stage, where the combined manipulation of surface and form can take place together, resulting in an aesthetic that has ʻvisual integrityʼ. The second aim of the research has been to identify the inherent qualities of working and thinking ʻwithinʼ the language of ceramics and print materials and processes. ʻSyntacticʼ qualities and factors have been determined through research into historical innovations and the observation of current commercial practice in the field of screenprinting and screenprinted ceramics. This has helped to establish approaches to overcome negative factors relating to the perception of division, and invest integrity in the work through principled approaches to practice. The project adopts a methodology of ʻthinking-through-makingʼ where iterative studio experimentation is undertaken through tacit understanding, gained from experiential knowledge combined with research of contemporary and historical precedents. This approach is reflected upon and informed by writers who discuss working within the inherent language of printmaking. The research contributes to the advancement of knowledge through the development of a new versatile technique that can be easily accessed by ceramists and printmakers who wish to produce integrated ceramics and print works. This contributes to the advancement of technology, perception and knowledge in the field of printed ceramic objects. My approach and the development of a value system also offers a tool to further the critical

My work is defined by where I reside at the time of its creation. I am interested in exploring my own sense of place based on my curiosity with the unique character and history of my surroundings. The work discussed here is specifically concerned with the landscapes, communities and development practices prevalent throughout the Midwest. In my work I use my own personal experiences with disorientation and dislocation in the various suburban, urban and rural landscapes I encounter in my everyday life and share them with a wider audience. In that way they can place themselves within the ambiguous landscape I choose to depict and recall that it happens everywhere throughout the United States. My work uses combinations of printmaking, drawing, installation, book arts, and video art to express these themes.

No description available.

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ‘printmaking’.

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-11-17Bitstream added on 2014-06-13T19:27:52Z : No. of bitstreams: 1 tauffenbach_l_me_ia.pdf: 4558690 bytes, checksum: 80106807444bab41a59150fd1bb1e199 (MD5) / Universidade Estadual Paulista (UNESP) / O presente trabalho trata do estudo da gravura quando realizada com tecnologias digitais, então denominada de infografia impressa. A partir de um levantamento histórico, verifica-se a evolução técnica e conceitual da gravura até seus desdobramentos contemporâneos, quando recursos digitais passam a ser utilizados na execução das estampas. Considerando a multiplicidade de usos das técnicas gráficas na arte, tais desdobramentos, juntamente com os modos mais tradicionais de construção de estampas, também são apresentados aqui. A partir daí, os aspectos que fundamentam a estrutura física e conceitual do universo digital são expostos e confrontados com aqueles que estruturam as técnicas tradicionais de gravura, a fim de estabelecer as diretrizes que podem nortear este novo modo de construção de estampas. Entenda-se que o caráter de novidade não se aplica somente a transformações técnicas, mas também à estrutura organizacional, operacional e conceitual. Entretanto, veremos que apesar das mudanças, a infografia impressa pode carregar os mesmos fundamentos da gravura tradicional, como as idéias de matriz, reprodução, provas e impressão, adequadas ao novo medium de produção. Considerando também que esta pesquisa parte de uma reflexão prático-teórica, ao final é apresentada uma série de estampas desenvolvidas a partir dos questionamentos e elucidações levantados ao longo do processo de investigação. Das estampas que compõem a série, uma é descrita detalhadamente desde sua concepção até a construção e posterior impressão. A apresentação de um produto plástico ao final da investigação vem corroborar de maneira prática os pontos defendidos aqui, contribuindo com o entendimento e sugerindo novos caminhos para a pesquisa sobre arte impressa e novas tecnologias / This academic work presents a study of printmaking with the application of digital technologies - then called printed infographies. Starting with a historical review, we can verify the technical and conceptual evolution of printmaking until its contemporary developments, when digital resources are used to create it. Considering the diversity of uses of graphic techniques in art, such developments, together with the traditional manners of printmaking, are also presented in this study. From this moment on the fundamental aspects of the physical and conceptual structure of the digital universe are exposed and compared with those which bases the traditional printmaking techniques, installing the directions to this new way of create prints. The novelty factor is not only in the technical transformations, but also in the organization, operation and conceptualization. However we can verify, despite this changes, that printed infographies can carry the same basis of traditional printmaking - like matrix, reproduction, proofs and printing - fitted to the new medium. Since this investigation is also a result of a practical / theoretical thought, a series of prints is presented at the end. This series was developed based on the questions and responses gathered during the investigation process. Of all prints that are in the series, one is fully described, from is conception to the construction and printing. The presentation of a final practical an artistic work comes to authenticate the points defended in this study, thus contributing to understanding and suggesting new ways for the research in printmaking and new technologies