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Artist Exhibitions:
Under Pressure: Arkansas
Printmakers Show, Arkansas
Artist’s Registry, Little
Rock, AR
A Printmakers Collection,
David E. And Vivian Bernard
Collection, Wichita Art
Museum, Wichita, KS
Arkansas Small Works on Paper,
Arkansas Artist’ Registry,
Little Rock, AR
34th Annual Art Exhibit, Fort
Smith Art Center, Fort Smith,
AR
Pattern: New ...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
Tennessee Tech University,
Cookville, TN
Tamarind Institute, University
of New Mexico, Albuquerque, NM
The Print Consortium, St.
Joseph MO
Wichita Art Museum, Wichita,
KS
Sioux City Art Center, Sioux
City, IA
South Dakota Art Museum,
Brookings, SD
Southern Graphics Council,
Statesboro, GA
University of North Dakota,
Wichita, State University,
Wichita ...
Further Information
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Commissions:
Coming Soon!
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Artist Statement for Steven Mayes
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My training in art has focused on traditional intaglio printmaking. In 1958 while a student, the art department sponsored an exhibition of collographs by artist Glen Alps, inventor of the process. They were paper and cloth collages that were inked and printed as an intaglio plate. Part of the excitement, was the imposition of a variety of textures embossed into the paper print. Eventually the entire art department experimented with this new process.
Experimentation with different print technologies and processes became a part of my printmaking history. For many years I have tried to incorporate video, computer and other technologies into generally abstract and non-objective images. Through the years, the underlying themes of all works have been structure and textures from nature influenced by my interests in building construction and collage. These have been a hallmark of most of my work. I had access to several computer platforms and used them to create patterns and textures, which were then transferred to photo-etched metal plates. With the advent of color ink-jet printers, I began a modest move toward computer-generated art printed on paper.
The technology and materials then were very primitive, so I continued to experiment, and did not take the final step until the technology and materials could rival the more traditional print methods. The first works that were close to archival quality were digital collages made from scanned textures and processed with Adobe PhotoShop. Then in mid 2003 I began photographing landscapes thinking they would be cut up digitally in a continuation of the digital collages. I then realized, I responded more favorably to the landscape than I did to the non-objective collages.
This then was the start of my work using all digital processes in the making of a print image. From start to finish, each work is conceived as a digital ink-jet print on archival paper. Some of these images are made in editions of ten and others exist as "unique" single prints.
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