Printing to Fit

The Ozone is a wonderful environment in which to create. It offers a studio space, in addition to the gallery, with great light and breathtaking views. How can one not feel totally inspired inside? Today's printmaking order of the day was 'encaustic collograph mono-printing'. Yeah, say that fast five times. 

What I am talking about is; the procedure of applying a printing surface with encaustic, printing that with mixed media collographic embellishments, then creating yet another printing block with organic collograph materials and imposing that onto the first print. Easy Peasy. The outcome is deliciously textural and seemingly complex with differing recognizable details within abstractions of color and line qualities. 

Kindra Crick turned me on to this encaustic collograph method and I believe Amy Royce uses this too (both in the gallery and featured for the 'Fit to Print' show). I broke my plate with the enthusiasm of printing to find that plain glass might not be the best plate for pulling the collograph. This sweet monoprint has an addition of 1 and has 3 other relatives before the plate broke. 

The Hydrangea blossoms were from my front yard and the wax used for the encaustic is local and organic. Even the inks are from the Pacific Northwest so this is a medley of ingredients sourced locally and organically. 

Work like this continues through the show run as I pull mono-prints, collographs, and woodcut prints live daily in the gallery. 

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Wild Studio II; This is Your Home

We rode our bikes down first to see if we could make it in the 'wander-rig'. There was a dot on the map that in no way implied what we were about to experience, though the bombing downhill on the bikes would have been worth getting skunked. In the belly button of painted hills and soaring canyon rim, a river ran through land that had been occupied for at least 1000 years. For all those inhabitants, we were two of the very few souls within many, many miles. This remote beauty was left to the deer, rabbits, cougar, coyotes, bats, and lots of bugs.

As an artist, I get a knee-jerk reaction to create when struck with places like this. If there are ghostly voices of history story telling in left over buildings and artifacts, it's a full on seizure of inspiration I can barely contain. If little flies hadn't wanted so much undivided attention, and to fly into my ears, I may have been able to paint on site. Instead activities to keep moving were in order, and I'm glad, because if I paint, I miss out on everything else.

Against the cliff face, almost to the end, a low wall has stood the test of time. It's easy to imagine the group moving in for the winter season safe from predators. To stay and live off the bounty of this land must have been incredibly appealing. We made this our home for a very short while, fully ready to stay indefinitely in our hearts. 

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Oregon Wild Studio

The title for this blog appeared on the 'Events' calendar and I was asked exactly what that meant. It literally meant that we were going out in the wilds of Oregon to open studio, gather inspiration, materials, and have a serious 'cleansing of the head'. 

Where one goes to shake the cranial etch-a-sketch is completely up to what tends to float your boat. For a really good synaptic shampoo, I like deep wilderness. Instead of putting my feet up, I'd rather spin revolutions taking us on explorations into the frontier. Rather than set up camp, we have the tendency to wonder what is around every canyon corner and behind every tree and to wander there. 

Don't get me wrong, even though the eyes want to be bathed in ever-new sights, we do stop. Being still to smell the rain in the sage, to feel the wind embracing you with its power, to sense the frog on the bank, owl in the tree, or doe in the grass happens. Maybe the mandolin and guitar come out to jam with the crickets chirping along in D as the cosmos radiates the glimmering stage lights overhead.

In the end, there's never enough time adventuring and it's always hard to leave. Though the love of home is strong, the necessity of this kind of immersion is inarguable. 

Inspiration is easily gathered by the promise in the horizon. 

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What Is Fit To Print

We are finishing up the walls for the new 'Fit to Print' show. This show is the product of a lifetime of living with a fine art printmaking mother Judy Miller Johnson, being asked 'what is a fine art print?' over and over, what is the difference of a glicee and art print?, and having so many really talented print-makers in the gallery that it became a 'no brainer. The questions will be answered and the prints are now, deservedly, displayed.

Amy Royce is a featured artist for this show and presents why fine art printmaking in contemporary media is so important and compelling. Her work strikes the eye with fresh, bold textures and gentle, undulating tones. Unlike anything I've seen before, her unique blend of printmaking, sculpture, and encaustic hang on the wall like bas reliefs from the newest empire of art.

Michael Guerriero creates Serigraphs of the most sophisticated form. Pictured, Michael is able to build an image with a series of registrations made by screen printing. The scene at the front door of the gallery, in the morning, illuminated by a sodium light from a fishing boat, the Ozone Fine Art sign can be seen on the wall next to Michael's visual rendering of a forecast.

Other notable artists in print media at the Ozone are Judy Miller Johnson, Ron Zaneveld, Laura Aldridge, Kindra Crick, Karen Britt, Kimry Jelen and Michael Main. Several other artists including Rhonda Chase, Susan Farnham,  Sandra McCourry, Mark Yanowsky, Robert West, Rosemary Achelpohl, Cammy Davis, and Tash Wesp have work dealing with the use of printed media in their work. It turns out that work in print has a tendency to inspire artwork one way or another very often.

We all invite you to this show. Also, during the course of the show; we invite you to witness demonstrations, try printmaking yourself (with our interactive art projects), purchase work made right in the gallery from woodblock and screen printing to hang and wear, see the changing show due to new presentations through the show run, and learn about why print-making is such a wonderful and useful art media. See you here!

 

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Totality

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Nothing could prepare one for the experience of the Eclipse. Sure, there was plenty of hype ahead of the event including news of mass amounts of people crushing in on Newport melting the infrastructure. In the end, the lack of any of that was as surreal as what did happen to our landscape. As the moon closed in on the sun, so too did the marine layer enveloping us in a wet blanket for our party. In the nick of time, the clouds parted enough to see the darkness take a bit out of the sun. As the bite got bigger, the surrounding fog and beach was tinted a moody color of blue. When it reached totality, it was not like night, but like an underwater filtering of light. Viewing with the glasses off, the sun blazed sweeping brushstrokes of heat from behind the black moon as the temperature dropped on us. The most exciting part was just when the moon started slipping offline so the pink diamond ring exploded out the side. There's no way to capture that in art but I did work the new palette into the 'Eclipse over Agate' woodcut/electric painting print. The story about that exact location and the print will be in the printmaking section on the website soon and the print will be available until sold out (currently about 1/3 into the edition).

Summer Visitors

Welcoming all summer visitors, yes, even the bandits on the fish factory rooftop. This mom and her two kids are experiencing all that the Newport fresh fish industry is chocked up to be. It was awfully nice of them to come by the Ozone and be part of the show here as well. We always love a little performance art though they'd better watch out or they're likely to get painted by a local artist.

All that glitters...

When the precious opals came out of the vault to become jewelry, after 25 some odd years, no ordinary setting would do. Bringing the finest metals and most ancient jewelry art forms to frame the gems seemed only natural. Keum Boo is an ancient Korean method of fusing gold to fine silver at the molecular level without solder. In this way, it's elegant, clean lines and intriguing textures are beguiling.