This piece is included in the Caravan Print Portfolio, 2006
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 leaves, combined with parts of 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.
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 gratefully 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.