Etchings / Artist Prints

Artists Describing Their Art:

Rachel E Heberling - I walked up the dirt road before leaving the mountains. Fall was creeping in. I thought a car had driven by, but there remained a strange banging and rattling noise. I turned around and listened, yet nobody was there. I looked again; it was just a 25 mile-an-hour sign caught up in a tree. With the winds kicking up, I ran back down the hill. There were always strange machines in the basement. A Victrola, oil lamps, and car transmissions sat in the dark, collecting dust by the coal furnace. I grew up in a log home on a mountainside in Pennsylvania's coal regions, where black slag piles were poised to swallow one-street towns: a landmark of the Industrial Revolution's demise. When I would pass just over the ridge and wander through abandoned factories, I could feel the heavy air inside: damp and laden with an eerie silence. My childhood existed at the tail end of an era of typewriters and rotary phones: forms of communication that demand a physical connection. These fragmented memories still exist in the tactility of ink embedded into a surface, whether rolled through a press or fed through a typewriter. ...

Bert Menco - Though they may seem simple, especially my drawings and intaglio prints but also my paintings are actually quite elaborate; half a year's work on an image is no exception for me. I draw directly or use small sketches, even doodles, as image-generating nuclei, often combining two or three that appear to complement each other. I rarely use concrete references, but rather work from inner visions. I tend to be narrative in my own art, perhaps poetic narrative. I don't see my images as telling a story but rather as reflections of inner feelings, similar to some poetry, and would like observers to read them as such. I like to believe that my work carries a certain mystery. My images are very much "inside out.aEUR? I have usually some idea of what I want to obtain, but much of the image is generated while I draw or paint. The end product always surprises me; I am often amazed that there even is an end product. Analyzing my own art is difficult but I think that the dreamlike images tend to deal with confined spaces which contain certain characters that reach out to one another but do not quite ...

Emma Saul - I am inspired by the land and sea, and both real and imagined landscapes are the subject of much of my work. I love to capture light from stormy or threatening skies, but I also love the feel of the light after the storm has passed. My work is often about layers, both in technique and in subject matter. I like to see my paintings evolve as I work on them, as do the landscapes they represent. Although I work mainly in oils and acrylic, I love textures and use a variety of materials to achieve paintings that in some cases are almost sculptural. I work straight on the canvas and try not to plan a painting in too much detail. This gives my work an impulsive quality, and it is this spontaneous aspect that attracted me to print. I produce small edition or unique original prints. I love the fact that however much you prepare a print, the result is always something unplanned and better than imagined. My monoprints are all, by their nature, unique. My etchings tend to have aspects that make each print, in what I always keep as small editions, different from the one before. Please ...

Frederick Jones - On the surface my etchings are representational. The content is chiefly urban and/or figurative, and they aim to catch the texture of the everyday world - places, times, effects of light and weather. I am very concerned with the abstract geometries which remain visible within, or arise from, the world of appearances. Most of my prints are monochrome, although red makes an occasional appearance. The main influences on my etching have been the etchings of Rembrandt, and modern Dutch etchers - Aat Veldhoen, Charles Donker, Willem den Ouden ... ...

Zoja Trofimiuk - Artisti?1/2s Statement My Art is my Statement. Volume and Space are concepts that have influenced my art. I am particularly fascinated by their appearance in the human body. I am interested in exploring dialogue both internal dialogue, which exists within oneself, and external connection that moves between two people or objects. My art explores i?1/2contradictionsi?1/2 which are attracted to each other and create a new whole. The human figure appeals to me as an adequate form for expressing these ideas. Working with glass has given me the opportunity to stretch the boundaries of these concepts to new limits, as well as offering me the joyful experience of playing with colour. I would like to concentrate my attention on capturing absence, an impression, commemorate memory, fleeing presence, give physical form to a spiritual value. The absence transferred into visual terms, long after it ceased to exist. In both instances, when working with bronze or glass, I apply a casting technique called i?1/2Lost Waxi?1/2. ...