Intaglio Prints

Artists Describing Their Art:

Sandra Ramos - For me, making art is a way of communication with all human being and with the future. Through my work I try to express my relation with the political and social contemporary context worldwide. My work is also a reflection about the specific reality of my country. One of the main subjects on my work is the relationship between personal freedom and political power. Thus trough my work I try to make a daily recovery of and individual and social memory tied to everyday overcoming of economical and social uncertainties. My work is highly relating whit the lost utopian feelings and frustration of the socialism-emancipating ideal, which are states of minds very characteristics of the actual Cuban society. I use diversity medias, according to the variety of significance of each work. I have made a lot of etchings prints, using my self-portrait and a XIX century print trying to create a character similar to Alice in Wonderland. This girl has the function of commenting the resent history of my country through popular stories pointed out by texts. In this series I also incorporate classical characters taken from the popular political Cuban caricature, which are symbols of Cuban people ...

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. ...

Zoltan Janvary - I grew up in 20th century Hungary. Our political leaders were in fear of new art movements, so that there was nothing available but the teaching and studying of classical art. In addition to this training, find inspiration in history, literature and mythology, and these forces blend with my current experience. It is the challenge of this tension between the well-known and that which must be discovered that provides me with the greatest joy in both teaching and in my own private practice. ...

Jamshed Aziz - I am texturing the `Herf `(words) of holy book (Ouran) which has all solutions for humanity. Calligraphy in Islam therefore is not just a matter of script it is considered a mystic process of Self discovery, exploring the true geometry of the sprit. I am an artist of modern approach and my art work is embedded in the rich tradition of holy craft. The letters and words are not indistinct, though at places due to the principals color and tone and emphasis, they more from readable to elusive finally letters turn into an image textured by an inner rhythm. ...

Laura Imhoff - My name is Laura Imhoff and I am the owner and photographer of Perception Studio. I graduated magna cum laude from the Myers School of Art, University of Akron in 2006 with a BFA in photography, and minors in painting, art history, and professional photography. While in school, my goal was to practice as many disciplines and approaches to art as possible so that I could gain a true understanding of what it meant to be an artist. But what did that require? It meant, "eat, breathe, and sleep" art. So, that is exactly what I did. While my classes offered technical advice for each discipline I tried, I learned the most from the artists of past decades and my colleagues. Sharing my life and art with them, and vice versa, showed me a world of possibilities and gave me a real appreciation for art in all its forms (and people, too). I decided that art school really wasn't about learning how to BE an artist, but instead about how to defend why YOU are an artist. Being an artist isn't about being techinically the best, which is what I had always strived for...its about the ideas ...

Maryjean Galivan - Over the years my art has evolved into a personal introspective search. The constant denominator is a strong sense of color, though the subject matter can range from whimsical to disturbing. I feel my inspiration stems from a past saturated with LSD and a present filled with ADD. The combination of these two ingrediants as well as my jaded perception of life are the fulcrum of my creative energy. Since I have lived in Arizona for the last 20 something years, I am inspired by the colors and textures of the desert. For the last year I have been incorporating them into my work. ...

Maryjean Galivan - Alice Chang - I was from Taipei, Taiwan. I graduated from the Department of Editorial Design in Tokyo Designer Gakuin College. After my graduation, I came to New York and went to School of Visual Arts for getting some credits. I graduated from Adelphi University and received a Bachelor of Arts Degree in graphic design in 2001. I have designed over hundreds of books and periodicals, as well as organizing and supervising many of Asian Culture and Art Programs of Tao's Culture, Inc. (nonprofit incorporation) also as a graphic designer in Zen Palate vegetarian restaurant in New York. ...

Jerry Di Falco - Photography inspires my art and acts as a vital element in my etchings. The images I employ originate from my own photographs, as well as from the images I find from my research into the digital archives of universities, historical societies, libraries, and museums. Upon locating a documented scene I wish to etch, my first step involves the execution of two to five original drawings of the photograph. My collaboration between photography and printmaking allows me the independence to integrate my personal interpretations into the scene. Moreover, I create bridges between the physical and metaphysical visual realities in the same way that a camera intersects with human creativity . . . the nexus between the mechanical and the cerebral art tools. Art unveils everything that we mask behind our belief systems conversely, I strive in my creations to clarify those phenomena we overlook as a result of our egocentric assumptions. Ironically enough, I blame this failure to notice things, a process I label, the phenomenology of connectedness, on todayaEURtms very infatuation with and addiction to the new communicational technologies of social media. My artworks therefore become like windows through which to examine the mysteries of aEURoeeveryday consciousnessaEUR. In fact, my use of ...