Serigraphs

Artists Describing Their Art:

Youri Messen-Jaschin - Award 1963 1st Prize of contemporary engraving Center of Engraving Geneva MusA(c)e daEURtmart et daEURtmHistoire Geneva 1966 Grant of the Swedish state for study at the University of Gothenburg research in the textil in Op art 1969 USA Gould corporation 1st prize for the realization of a Op art sculpture 1970 2 nd prize for a textile work - electro-acoustic, University of Gothenburg 1971 1 st prize for a textile work - electro-acoustic, RAPhsska Museum Gothenburg 1985 Italiy Centro Studi e Ricerche delle Nazioni World Culture Award Statue of Victory 1985 1985 Centro Studi e Ricerche laEURtmAccademia daEURtmEuropa Diploma of Appointment of Academician of Europe for its cultural and professional activity 1986 Diploma European SchowmenaEURtms Union For his sincere efforts on behalf of the European ShowmenaEURtms Union we hereby extend our special appreciation to. Bruxelles IV73 1987 Diploma of nomination Golden Elephant for the merits that he acquired to the cause of the circus Schweizer National Circus GebrA1/4der Knie Rapperswil 1998 Installation Award Certificate of Merit Research in Op art Angel Orensanz Foundation, Center for the arts, New York 2000 Aim for Arts, International juried exhibition, celebrating artistic achievement Federation of ...

Youri Messen-Jaschin - Hans Andre - Rarely do I willingly speak of my paintings. What I see is not necessarily the same as you see. The paintings should only be seen in the viewers own eyes. However, in my last solo exhibition during the fall in Milan, organized by Camaver Kunsthaus, an Italian asked why the people in the paintings are always blind. The answer is simple, although people may see physically, it does not make them look mentally. Unfortunately, most people are blind. Visit : www.hansandre.com...

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. ...

Karen Morecroft - My work is primarily based on my experiences of the city, including my travels through the US & Europe. Documentation is an important feature of my work as it is where I collect my source material, which is a key element to the images I create. My work relies on photographic and found imagery along with collected objects from many varied sources, including the mass media. Layering, repetition and opacity are key elements of of my work that strive to reflect a certain nostalgia....

Peter Lendvai - &...

Rachel Dimicco - The concept of my work was conceived from pondering the unexplainable, unrepeatable occurrences in the natural world. This concept was then studied through the spontaneous intuitive processes of interaction between the fragile and irreducible materials and environmental components. The process was motivated by exploring the deterioration of natural elements. My work's intent was to alter how the elements of nature are viewed through conjoining atmospheric elements and natural phenomena. ...

David Sananman - My artwork, across different mediums, is about exploring the dimension not visible to our eyes. I am trying to bring forth into physical reality images and animation that comes from within my mind. Through the different mediums of painting, printmaking, and animation I get to discover the strengths of those particualar artmaking techniques and apply it to my abstract work. Much of my work is simply applying what I have learned of art's essences such as color, composition, technique, and theory. I derive a great sense of fun and mystery that I hope others will also form their own impressions from looking at my work....

Tatana Kellner - Growing up in communist Czechoslovakia, as the daughter of Holocaust survivors, I learned to mistrust authority and question official doctrines. The current political landscape with the erosion of civil liberties, the misinformation fed to us by our leaders and the manipulation of facts by the media has motivated me to refocus my artistic concerns from exploring my personal history, albeit political, to taking a direct stance on contemporary politics. I use media, especially the newspaper, as my primary source material. The images and text fragments are processed in a way that parallels political maneuvering (deal making). My work is tactile. Layers of inky marks form the images. The inherent messiness references political corruption, loss of innocence, and encapsulates a specific moment in time. History defines us. History haunts us. ...