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in pastels that became the basis for the large woodcut i recently completed for big ink big ink was a two day printing event for invited artists organized by lyell castonguay at zea mays printmaking in florence ma see links for zea mays and lyell at the bottom twelve artists who work with large scale woodcuts were invited to use the 42 x 70 takach etching press in the annex studio each artist would make three prints two for their portfolios and one for future big ink exhibits protect yourself sketch from march 2014 william evertson this piece developed from the phrase life is a bowl of cherries which i discussed in an earlier post concerning another version of this work here i ll speak more to the inspiration at the end of this post detail of the block for bird on a wire the planning for the big ink piece which is 32 x 44 began with a small 11 x 17 study block since i rarely print only in one color and the event was for single black ink pieces only i carved this small block in about a day and it gave me an idea how long the larger more detailed piece would take about three weeks finished print bird on a wire william evertson 2014 the original pastel was 16 x 22 so i created a full size ink drawing on a thin paper to be glued to the cherry plywood the drawing is pasted face down and i carve right through the paper you will see from the finished block and print that the drawing is only a guide over the course of three weeks the process of carving resulted in some changes and additions black ink and wash drawing before gluing to the block early progress on the block similar detail to the bird on a wire trial piece the storm clouds in the upper portion inspired the waves for the lower portion the title is carved into the block life is a bowl of cherries protect yourself with essential geometries finished block before inking big ink printing day at zea mays began on sunday june 15th with five of the selected artists working together to pull the oversize prints the artist the print and the block the genesis of the work occurred to me as i watched one of the morning news shows or what passes for news since we seem to have disasters political opinion formation the lives of celebrities vying with the the feel good antics of the hosts to start our days the jumps from the latest school shooting to puff pieces on kim kardashian setting her wedding date from banks once again making record profits to celebrity chief making a lo cal dishes to get their celebrity client ready for the red carpet made me wish for a magic circle of protection a mandala to ward off our contemporary barrage of bedevilments a second meaning also crept in with my wife in the midst of chemotherapy and well wishers advising the power of positive thinking thanks but there s also something to be said for screaming life isn t fair every once in a while many thanks to lyell castonguay for organizing the event and artists and to zea mays printmaking for providing the facilities links zea mays printmaking lyell castonguay flicker photo set of print day posted by william evertson at 4 54 pm no comments email this blogthis share to x share to facebook share to pinterest labels printmaking sunday may 11 2014 machine 15 machine 15 woodblock print william evertson 2014 this latest print titled machine 15 after the magic square in the bottom center began as a tribute to the seals used to annotate traditional moku hanga prints the seals we often see on woodcuts are used as an artists or publishers signature they can also indicate titles dates the printer carver poems or other declarations seals_ william evertson the idea of the declaration annotation or poem as a footnote to a piece has intrigued me the tiny but beautifully carved and thoughtfully placed seals often help add balance to a work over the years i ve carved many seals as a tangential thought or an addition to a signature on a piece and i thought it would be interesting to carve a piece where they were the focus detail of seal stamps the keys on the machine typewriter have my previously carved image seals individually applied i made small woodblock enlargements of several to use in the upper areas of the piece overall the piece has a slightly different look than some of my recent work a bit simpler design more graphic and less dense as the emphasis is on the smaller elements the small pictographs have their basis in the mythologies and folklore that i often mine for elements of intersections among differing cultures and our contemporary globalized and internet connected world a carved woodblock and the beginning of building a gradient machine 15 is printed in an edition of 15 with 3 ap the carving was completed in april of this year and printed in early may the print is 15 5 x 29 5 on washi seven large blocks are used along with eight smaller pictograph blocks fifteen of my small one inch diameter seal stamps were added after the the main printing of the blocks posted by william evertson at 7 53 am no comments email this blogthis share to x share to facebook share to pinterest tuesday april 15 2014 sigmar polke alibis seeing rays polke 2007 the much anticipated sigmar polke exhibition is currently at moma in nyc this is an extensive retrospective of the artist s work and the largest single artist exhibition mounted at moma this will probably be the most discussed topic this spring at least until the spring art fairs return our attention to money and art i ll leave the heavy critical lifting to the critics and will add links to various sources as they are written shirts polke 1964 i do have several observations to share polke doesn t have a signature style that allows one to walk into a room and instantly know who the artist is indeed one could wander through this exhibit and be fooled into thinking it is a group exhibition polke 1941 2010 worked in a variety of mediums painting photography film sculpture performance collage print and often combining these to form hybrids potato house polke 1967 i found that particularly refreshing and actually affirming in my approach to art making in fact after seeing the creative explosion of ideas and experimentation that polke explored i realize the half dozen or so phases i ve gone through seem like minor diversions in comparison i think we ll recognize in the aftermath of this exhibit that many contemporary artists have built careers mining single facets that polke has touched on my second observation concerns how liberating the absence of wall tags felt each room has an overall description that touches on the period it the work references otherwise we are left to our own eyes to decide what it is we re seeing there is a handout available with the title dates and material the titile of the exhibition alibis in part refers to the deflection of responsibility which shaped german behavior during the nazi period during polke s childhood as well as an absorbing interest in deflating absolutes as an artist polke is at once a master of illusion slight of hand and a dedicated alchemist recombining artistic elements not for gold but for the thrill alone seeing things as they are polke 1991 alibis sigmar polke 1963 2010 opens to the public on april 19th and runs through august 3rd at moma in nyc links moma alibis sigmar polke 1963 2010 james kalm videos part 1 part 2 jerry saltz from new york magazine saltz on moma s frustratingly near great sigmar polke retrospective walter robinson from artspace sigmar polke bad ass of german pop rocks moma senseless holland cotter from ny times found everything tried everything all his own way posted by william evertson at 2 06 pm no comments email this blogthis share to x share to facebook share to pinterest sunday march 30 2014 a very big dragon soga shōhaku dragon and clouds un ryu zu japanese edo period 1763 unveiled last week at boston s museum of fine arts shōhaku s dragon had long been under wraps as it received extensive conservation and repair including custom made wooden lattice cores with multiple layers of paper on each side extraordinary in person the panels extend to a full 35 length despite two missing and long lost to history the missing panels would have been just to the right of the dragons face in the picture above the dragon s face panel the piece dominates its room at the mfa the lights low all the better to imagine that it originally was inside a temple painted with ink the piece while looking very graphic is actually very nuanced with greys giving the work a three dimensional feel a dragon s claw interestingly the curators descriptions include mention of soga shōhaku s penchant for painting in a wild style fueled by copious amounts of alcohol they point to areas such in the claw area above where it seems that large rags have been used to smear background i m not sure how much is lore or exaggeration but much of the power does come from the tension of tightly controlled areas playing off of deft but loose handling of the ink indeed there is much splattering in the composition panel with clouds the end panel above is typical of the wet on wet very abstract handling of the clouds take away that claw and it s a close step to imaging a pat steir painting two scrolls and a powerful two panel ink drawing of a hawk round out this outstanding look into soga shōhaku s work return of the dragon at museum of fine arts in boston through july 6th posted by william evertson at 3 44 pm no comments email this blogthis share to x share to facebook share to pinterest labels reviews older posts home subscribe to posts atom upcoming exhibits fluxjob minnesota center for book arts feb 7 july 6 bridges the cannery gallery san francisco mar 26 30 william evertson website portfolios exhibitions cv my 411 william evertson view my complete profile vimeo channel video works seeking kali website seeking kali is william evertson and susan shulman analogue narratives 12 artists attempt to complete rene daumal s novel art writers organizations 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