This piece is included in the Caravan Print Portfolio, 2006
View the entire Caravan Project Print Portfolio
color relief and intaglio, 12 x 16"
This print was inspired by the Ukiyo-e tradition of Japanese woodcut, in the ‘bird and flower” form popular in the 19th
century. I attempted to reproduce the feeling of an oriental woodcut using western printing inks and techniques. The print was
executed on 6 sintra plastic blocks and one etching plate. The subject is a view from my backyard, which is in the eastern part
of Great Falls near Malmstrom Air Force Base.
Printed on Arches cover white in an edition of 27.
multiple-block reduction print, 11 x 15”
In this relief print, I was experimenting with subtle and transparent inks to mimic some of the late season colors of cotoneaster,
and incorporated a Mars Global Surveyor / Mars Orbital Camera image of dunes in Chasma Boreale. A reflection on the local impacts of global warming, the print
was executed from three sintra blocks, two of which were carved between color runs, in a total of six runs through the press.
Printed on Rives lightweight white in an edition of 25.
In early July of 2003, my wife and I walked through an area of Glacier National Park which had burned in forest fires of 1967 and 2001. Luxuriant regeneration of many many species of plants from the baked and bisqued soil was flowering at that moment. A digital image recording the scene was manipulated in the computer, four transparencies were generated as a color separation and exposed onto photopolymer film on aluminum plates, which were then subjected to the rather violent corrosive action of an etch. The piece was created during a few weeks of August when our area was swaddled in the smoke from fires in Glacier, a month after we were evacuated from the Park. Printed on Arches 140 CP watercolor paper.
A viscosity or simultaneous color print
simultaneous relief and intaglio print, 11 x 14"
Printed on Arches 140 CP watercolor
paper.
In the culture of Great Falls, Montana, and I suspect in many communities in the US, the most common social
context in which we encounter other individuals is in automobile traffic. Thus we as individuals are observed in the frame of
our car windows. This print places us in an unfamiliar landscape, which could be heaven or hell, in heavy traffic.
I grate
fully acknowledge the permission of MSSS/JPL/NASA for the use of portions of an MGS/MOC image in this print.
Another exploration which attempts to link the beauty of
pure landscape with elements of popular beauty culture: flow in the underlying mass of hair, fun in the skating made-up
eyeballs. I was having fun.
I gratefully acknowledge the permission of MSSS/JPL/NASA for the use of portions of an
MGS/MOC image in this print. Printed on Arches 140 CP watercolor paper.
This is another in the series which incorporates MGS/MOC imagery (significantly amended and altered) with elements of human
hair and beauty culture. In 1989 I was on the maiden voyage of a seagoing long-tailed boat from the Thai mainland to the
Similan Islands, a marine preserve. Far out in the Andaman Sea, we passed the vision of a limestone outcrop
which to my eyes elevated a huge pair of stone lips above the waves. Four color intaglio-type hand printed on Arches 140 CP
watercolor paper in an edition of 20.
I gratefully acknowledge the permission of MSSS/JPL/NASA for the use of portions
of an MGS/MOC image in this print.
This was an early and straightforward experiment in combining traditional relief printing with the manipulated image output of our Epson 2200. The image is playing with the convergence of fluid and geomorphological dynamics, with texture of long wavy human hair added as bait. Printed on Epson Enhanced Matte paper, edition of 12.
A traditional woodcut depicting the fate of Laocoon, from the Homeric epic. Wrath of a vengeful goddess on a whistleblower. Printed on Rives Heavyweight in an edition of 15.
A two color lithograph created in response to the news of catastrophic flooding in the range of the caribou in Canada's northern Territories, and the loss of life among those herds as they forded the rivers. A black and white edition was also produced.
A two color stone lithograph, and a stylized depiction of fresh patterned river mud. A black and white edition was also produced.
A stone lithograph blending issues of glacial geology, paleontology, bryology, botany and art history. Printed on Arches Cover in an edition of 27.