We are proud to have selected the following demonstrators for the 2017 SGCI Conference in Atlanta.

After the conference we plan to post videos of the demonstrations. Those submitting video to share on our upcoming YouTube channel should follow the following guidelines:

Kennesaw State University

Nicholas Dowgwillo Hydrographic (Printing on 3D Objects)

wrapping a bottle with printmakingPROCESS: Hydrographic printing is a method of printing on 3D objects. In this process, a printed water-soluble film is floated on the surface of a water bath. An object is then pushed through the film causing the printed imagery to wrap around the object. It is typically used to apply commercially available patterns to custom car and motorcycle parts. This demonstration will explain how to use hand-printing processes to make hydrographic films and then how to use these films to print onto 3D objects.

About Nicholas Dowgwillo
photo of Nicholas Dowgwillo

Nicholas Dowgwillo is a printmaker currently based in Ann Arbor, MI. He received an MFA in printmaking from Arizona State University in 2011 and is currently 2D Media Studio Coordinator in the Stamps School of Art and Design at the University of Michigan. He has exhibited widely, including exhibitions at the Tokyo International Mini-Print Triennial 2015, Biennial International Miniature Print Exhibition VIII, the Biennale internationale d’estampe contemporaine de Trois-Rivières, 15th Annual National Small Works Exhibition at Washington Printmakers Gallery in Silver Spring Maryland, and American Impressions at William Patterson University in Wayne, NJ.
http://nicholasdowgwillo.com

Thomas Lucas Printmaking and Ceramics

Screenprinting on porcelain slabsAs contemporary printmakers continue to push the boundaries of the printmaking medium across the disciplines, the role of the print has proved an important creative element with mediums such as ceramics. This demonstration will showcase traditional printmaking techniques such as etching and lithography transfer applications to porcelain clay. The ceramics community has been aware of printmaking techniques such as screenprinting and monoprinting for many years. These approaches have opened up, the possibilities for applying images on the surfaces of ceramic vessels and sculptural forms. As well as, supporting a more interdisciplinary perspective towards the arts in general. The idea of etching and lithography is all about utilizing a printmakers approach to the clay(porcelain) as interesting alternative to paper with the result almost looking like a traditional print on paper. I have been working with Dean Clark at Graphic Chemical to develop an oil-based printing ink for ceramics that has similar characteristics to the standard printing ink. The difference is that the ceramic ink will sustain ceramic firing temperatures up to 2400 degrees. Material lists, process info, resources and examples will be provided as part of the demonstration.
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About Thomas Lucas
photo of Thomas Lucas

MFA, SAIC Chicago. BFA Printmaking Tyler School of Art, Temple University. Founder, Master Printer at Hummingbird Press Editions, Chicago. Thomas worked with such artists as Kerry James Marshall, Willie Cole, Richard Hunt and Barbara Jones-Hogu. Taught at Tyler School of Art, The School of the Art Institute of Chicago, Milwaukee Institute of art and Design, Anchor Graphics, Columbia College, Pendland School of Crafts and Ox Bow School of Painting. Thomas is currently on faculty at Chicago State University and Harold Washington College. His own artworks are included in various private and public collections, exhibits nationally and abroad.
http://thomas-lucas.com

Margot Ecke Letterpress - Tight Registration

Letterpress, cut paper printLetterpress printing is known for its traditional design, sensitive printing techniques and attention to detail. This workshop will cover the more finely detailed nuances of proper registration, packing and inking while also discussing some of the more experimental approaches to letterpress printing. We will play with various printable materials, such as wood blocks, linoleum,  and polymer plates. There will be special attention given to distressing techniques applied to polymer plates, which can yield prints that begin to look like lithographs or intaglio prints.

About Margot Ecke
photo of Margot Ecke

Margot Ecke is the owner of Smokey Road Press, a letterpress and bookbinding studio in Athens, Georgia. She received her MFA from the Rhode Island School of Design and her BFA from Cornell University. She received a Professional Printing Certificate from the Tamarind Institute at the University of New Mexico and completed her training by earning her Diploma in Bookbinding at the North Bennett Street School in Boston. Her work is exhibited both nationally and internationally.
http://smokeyroadpress.com

Leah Kiczula Kitchen Litho

Kitchen Litho offers the joy and technique of lithography at home right in the kitchen while using environmentally conscience and sustainable materials. Through the use of easily attainable items that are probably in your kitchen today, along with tacky drawing items, everyone can make a litho print with no special tools. In this demonstration, I will go through the entire kitchen litho process. We will use aluminum foil taped to a thin plexi plate as our master. The plexi will be ruffed up with steel wool or sand paper, then cleaned off with vinegar. We are ready to draw! We can use sharpies, litho crayons, tacky pens, etc. to make our image. Now we will etch our plate with any cola, I use coke, for about 10 seconds. Clean the plate with vinegar once again, then use vegetable oil to clean off the image. Now we will ink up our plate, much like a photolithography plate. Use a two sponge system keeping our plate clean and wet while inking. Once inked, we will use a wooden spoon to print our plate onto paper, fabric, and what else! With common materials, Kitchen Litho allows for quick prints at your fingertips..

About Leah Kiczula
photo of Leah Kiczula

Leah Kiczula a photographer, print maker, and artist living and working in Portland, OR. She is a graduate of Marylhurst University in Interdisciplinary Studies and the Pacific Northwest College of Art in Fine Art. Leah is interested in myth, legend, folk lore, and fairy tales, which heavily influences her work. She creates in many mediums including photography, photogravure, and lithography, including the combination of multiple forms. Aside from art, Leah is a lover of heavy metal who enjoys a good show, floating down rivers in the summer, and listening to history podcasts.

Savannah College of Art

Ana Golici Iowa Foil Printing

	
some of the foil printing works produced during various demos with some of the foils used

While teaching printmaking at the University of Iowa Professor Virginia Myers invented the Iowa Foil Printer. This unique printer uses a heat stamping process that enables artists to laminate commercially produced foils onto their fine art prints. For 25 years Myers passionately developed foil stamp printing with printmakers, artists and students improving and documenting this innovative technique. Myers gave classes, demonstrations, lectures and produced portfolios and in 2001 the book Foil Imaging...A New Art Form.

Now that Virginia Myers has passed away many artists continue to explore foil stamp printing. Among them are Ana Golici, Robin Holder and Deanne Wortman who are 3 of the artists featured in the soon to be released Volume II of Foil Imaging: Changing Light: A New Visual Language. These three printmakers will give a printing demonstration that consists of: 1. An introduction to the basics of the foil stamping process showing original foiled prints and editions created in combination with etching, block printing, electrostatic transfers, lithography, stencil printing and digital imaging. 2. A foil stamp printing demonstration using laser toner and gel medium using pearlescent, translucent, metallic and holographic foils. 3. During the last 40 minutes participants will make a small foil stamp print.
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About Ana Golici
photo of Ana Golici using Iowa foil printer

Romanian born Ana Golici is a mixed-media artist, known for her works inspired by nature and science. Golici graduated from Hunter College with an MFA in Printmaking. Although she started as a fine art printmaker, Golici embraced the digital revolution and developed into an experimental printmaker. She became a member of the RBPMW and later a Board member, helping to establish the new digital lab and the Foil Printing facility. She has taught at Hunter College and at RBPMW, and was a studio member of the Elizabeth Foundation for the Arts. www.efanyc.org/studio-member-galleries/golici-ana/

Robin Holder Iowa Foil Printing (Heat Stamp Process)

	
foil stamp demo by Robin Holder and Ana Golici

While teaching printmaking at the University of Iowa Virginia Myers invented the Iowa Foil Printer. This unique printer uses a heat stamping process that enables artists to laminate commercially produced foils onto their fine art prints. For 25 years Myers developed foil stamp printing with printmakers, artists and students improving and documenting this innovative technique. Myers gave classes, demonstrations, lectures and produced portfolios and the book Foil Imaging...A New Art Form. Now that Virginia Myers has passed away many artists continue to explore foil stamp printing. Among them are Ana Golici, Robin Holder and Deanne Wortman who are 3 of the artists featured in the soon to be released Volume II of Foil Imaging... These three printmakers will give a printing demonstration that consists of: 1. An introduction to the basics of the foil stamping process showing original foiled prints and editions created in combination with etching, linoleum block printing, Xerox transfer, lithography, surface stencil printing and digital imaging. 2. A foil stamp printing demonstration using laser toner and gel medium using pearlescent, translucent, metallic and holographic foils. 3. During the last 40 minutes participants will have the opportunity to make a small foil stamp print.
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About Robin Holder
photo of Robin Holder

Robin Holder’s work is motivated by cultural issues. Holder has presented 4 one person museum exhibitions and was interviewed for The Artist Archive, Art Settlers of New York, and The Hatch Billops Archives. She has served as a panelist for NYSCA, Bronx Council on the Arts, Delaware Division of the Arts and Pennsylvania Arts Council. Holder received the Brooklyn Arts Council Artist Grant and a MAAF Artist as Catalyst grant. She is represented in various collections: Library of Congress, Yale University, Washington State Arts Commission, and The Schomburg Center for Research. Ms. Holder has completed several permanent public art commissions

Robert Brown Multiple Print Imaging Techniques

This demonstration will explore 3 layers of sampling and printing imagery. Included in the demonstration will be image capture, photogravure, photo lithography and video. The demonstration will begin with the exploration of several imaging techniques with helpful tips for resolution maximization and gamut. The second stage of the demonstration will include etching and printing a photogravure plate. The demonstration will offer alternative methods to the four- step method. In the final stage of the demonstration, the print will be sampled again to become a virtual tag for an augmented reality video. The demonstration will speak to several strategies in video mapping and print animation.
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About Robert Brown
photo of Robert Brown

At Colorado State University Robert Brown fell in love with printmaking for its material resistance and it's mark making possibilities. Robert received his BFA in 1994 and moved to Seattle to do Post-baccalaureate work at University of Washington. Robert attended graduate school in Austin Texas. At Flatbed Press Mr. Brown’s knowledge of printmaking expanded to include photogravure. Brown has 16 years of teaching experience at Savannah College of Art and Design where he is the Chair of the Department and lead Collaborative Printer for The Southeastern Center for Printmaking publishing artists such as Kiki Smith, Valerie Hammond, and more.

Deb Oden Alcohol Based Markers/Plate Making Techniques

I propose to demonstrate how alcohol based markers can yield dramatic and varied plate making capabilities. Plates used in demonstration will utilize Molow, Sharpie and Montana markers in a variety of different manners. Plates will be made without the aid of traditional grounds and aquatints. Effects demonstrated will be sugar lift, aquatint hard ground and stop out techniques, demonstrations on how alcohol based markers can be applied to traditional printmaking outcomes utilizing alcohol based materials for soap ground and other traditional ways of working. I am excited to show how the predictability of these materials can be used in smaller shops where lower maintenance of materials is not available.

I then propose to utilize these varied plates to in a series of mono-print events utilizing the larger Tackach press at SCAD ATL. I would like to harness the capabilities of past and present SCAD printmaking students that I have taught these techniques to to produce works in the demonstration.

I will use washi papers and traditional inks to create of mono-prints, resulting in a variety of prints in the hour of print time.

The marker instruction would occupy the first 30 minutes and the printing, the remainder of the time.

About Deb Oden
photo of Debora Oden

Debora Oden won the Triennial Prize, 5th Egyptian International Print Triennial, Cairo, Egypt. Her work was included in the 3rd International Experimental Engraving Biennial at The Brancovian Palace Cultural Center, Romania. She participated in the 2009 China Sanbao International Printmaking Exhibition at the Jingdezhen Sanabo Ceramic Art Institute, Shanxi University College of Fine Art and the Beijing Center Academy of Fine Art. Her work is been exhibited internationally. Her prints can be found in the collections of The Sheldon Memorial Art Gallery, the University of Dallas, the University of Nebraska, Hallmark Global Services, Grinnell College and the Kohler Art Library.

Morgan Price Mashing Your Body Onto A Litho Stone

Stone with skin transfers, final printed image, and a collection of some of the supplies utilized in making the transfer mixture

What lithographer hasn’t felt the overwhelming desire to mash their face against a stone and print off an awesome edition of smooshed self-portraits? However, the urge is frequently thwarted by the hazards and complications involved in this seemingly easy task. Materials such as autographic ink, liquid tusche, or printing ink can be messy or unsuitable for sensitive areas while Vaseline is slippery and difficult to see. I propose to demonstrate how to mix, apply, and print a non-toxic body-transfer material. Utilizing safe, easily-obtainable substances such as soap, petroleum jelly, and makeup, it successfully captures the subtle characteristics of skin while showing up clearly on the stone surface. It is compatible with traditional lithographic processing/printing materials and can be easily integrated with other mark-making tools. Everything it incorporates is intended for use on the skin and can be found at the grocery store. For this demonstration I will include my recipe for creating this mixture and share all the tools and process that go into its creation. I will demonstrate creating this mixture, my strategies for applying it to the body, different methods for transferring it to the stone surface, and tips for processing and printing the image.
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About Morgan Price
photo of Morgan Price

Morgan Price is an assistant professor of art at Illinois State University and a collaborative printer at Normal Editions Workshop. Originally from western Colorado he received his BFA from the University of Denver and his MFA from Wichita State University. Displaying work nationally and internationally, his art explores an uneasy relationship with contemporary society. When not teaching or printing he can typically be found riding his bicycle, thrift shopping, or gloating over his extensive collection of vintage shirts.

Tim High Semographics 2 - Monoprint Demo

Semographics Collaborations are hands-on monoprints created by a team of invited print artists to create one-of-a-kind collaborative prints, each developed by three or more artists. The productions are not pre-planned but are spontaneous expressions which may or may not address a contemporary issue or event of history.

The first semographics collaboration was hosted by the Department of Art and Art History at the University of Wisconsin-Madison in conjunction with the 2006 Southern Graphics Council International Annual Conference which they also hosted. At the end of the 5-day event, the seven artist team produced over 60 monoprint impressions. These images were compiled and traveled throughout the US from 2006 to 2009. The primary medium used during this collaboration was water-based silkscreen printmaking.

Semographics III – 2017 Atlanta Collaborative Team Members:

Eric Avery – Hope, PA
Sandra Fernandez - Branchburg, NJ
Tim High – Austin, TX  (chairperson)
John Hitchcock – Madison, WI
Stephanie Hunder – St. Paul, MN  *Co-Chair
Brian Johnson – Austin, TX
Catherine Kernan – Boston, MA
Amanda, Knowles – Shoreline, WA
Karen Kunc – Lincoln, NE
Kathryn Maxwell - Tempe, AZ
David Newman – Dallas, TX
Sofia Maria Paz – Chandler, AZ
Lenore Thomas – Pittsburgh, PA

About Tim Highs

Tim High headshot

Tim High, b. 3-10-49, Memphis, TN. BFA (studio), Texas Tech Univ. '73; MA '74, MFA '76, Univ. of Wisconsin - Madison. Mentors include Lynwood Kreneck, Bill Weege, Dean Meeker and Warrington Colescott. High initiated the serigraphy printmaking program - University of Texas at Austin (Fall '76) and continues to the present. Active in SGCI since 1985, annual conference coordinator ’89, ’01.
Awarded Individual Artist's Fellowship - National Endowment for the Arts '89. Over 300 solo, juried, invitational exhibitions, including: group show 54th Venice Biennale ’11; Instituto De Artes Plasticas, Xalapa, Mexico. Over 100 permanent collections including: Metropolitan Mus. NYC; Brooklyn Mus. of Art; Art Institute of Chicago; Fogg; Mus. FA – Houston; Mus. FA – Boston; Artist Research Print Collection, Texas Tech Univ.
     Founder of Semographics I, II, & III - Monoprint Team Collaborations: UW Madison, ’06: Tyler School of Art. Philadelphia, PA, ’10; and Savannah College of Art and Design, Atlanta. GA ’17. www.timhigh.com

Georgia State University

Robin Kaneshiro Printing Large Viscosity Monotypes with a Small Brayer

Kaneshiro demonstrating viscosity monoprint

In this demonstration, I will show how to print both small scale and large scale viscosity monotypes using a small brayer instead of using a large roller. There is no need to use a large roller. This method was developed by a student of mine, Melissa McNamara, while attending City College of San Francisco. Although loving the results of the viscosity monotype, she was less than enthused by the drudgery of cleaning the roller.

A viscosity monotype is done by painting loose ink (ink which is of a lesser viscosity) onto a plate. A roller which is wider than the plate and of a circumference sufficient to roll beyond the length of the plate is inked up with stiff ink. It is then rolled across the painted plate. Wherever there are areas of the plate unpainted, it will accept the ink on the roller. Because the painted areas are of a looser viscosity, they will reject the stiffer viscosity of the ink on the roller.

An analogy can be made of how a peanut butter and jelly sandwich is made. The thicker peanut butter is spread first and the looser jelly is laid on top. If we reverse the order and the is jelly spread first on the bread, it will reject the peanut butter we attempt to spread on top of the jelly. The jelly is the loose ink and the peanut butter is the stiff ink on the roller.

About Robin Kaneshiro

Robin Kaneshiro

Robin Kaneshiro received his A.B. and M.F.A. from the University of California, Berkeley. He currently resides in San Francisco, CA where he teaches printmaking and drawing at City College of San Francisco. He has taught at Iowa State University, Humboldt State University, the University of South Carolina, Ohio State University, and the University of Kansas. He has shown nationally and internationally and is in numerous public collections.

Susan Rostow Photo Carborundum Plate - Photo Screen and Monoprint

Carborundum mixture and printmaking plateThis demo combines; carborundum, photo-screen and monotype. A photo carborundum plate is made by applying a mixture of carborundum grit and acrylic gel by squeegee through a photo silkscreen onto a plastic monotype plate. Once the plate dries and hardens, it is ready to be inked and printed with a press. This process combines photographic imagery with the spontaneity of monotype. Since the carborundum mixture is built up on the plate, the paper embosses when going through the press creating a rich velvety surface on the monoprint. The plates are strong and can be printed many times. Rostow will demonstrate unique wiping techniques, modifying the inks for different results, comparing the characteristics between Carbon Black, Lamp Black, Mars Black, and Bone Black, mixing in metallic inks for a slight shimmer, how to achieve rich vibrant color and subtle transparent color overlays for added visual depth, and creating fantastic ghost impressions.

About Susan Rostow
photo of Susan Rostow

Susan Rostow is a New York City-based artist, educator and the inventor of Akua inks. Her one-of-a-kind mixed media sculptural books and prints have been exhibited in numerous exhibitions nationally and internationally. Rostow’s work is in permanent collections including: Library of Congress, National Print Archives and the Allan Chasanoff Bookwork Collection at Yale University Art Gallery. She was awarded a Pollock-Krasner Foundation grant and served as an Artist in Residence through the New Jersey State Arts Council, Pennsylvania Arts Council, Montana Arts Council, Arts, Jamaica Art Center, New York and the Oregon College of Arts and Crafts.
SusanRostow.com

Mizin Shin Non-Toxic Intaglio Platemaking Techniques (Plexiglas, Dremel, Sand, etc.)

non-toxic intaglio technique with Dremel

This demonstration primarily shows a non-toxic intaglio technique. By employing acrylic plates (or “plexiglass”) as a matrix, we can utilize a material that is not only easily accessible but also inexpensive. To establish an image on the acrylic plate, we use a kind of drypoint technique. Acrylic plates can be scratched with just about any tool, including professional engraving tools to achieve fine detail. In terms of easy usability and simplicity, a hand-held rotary tool (such as a “Dremel”) or the small electric drills designed for nail art are recommended. The tools can be used to engrave not only delicate lines, but also rough textures in the image. The demonstration will also present techniques to build up interesting textures using sand, powder, glue, and varnish. Through these techniques, printmakers will be able to avoid commonly used toxic materials while simultaneously making use of cheaper and more easily accessible alternatives.


About Mizin Shin
photo of Mizin Shin

Mizin Shin is from South Korea. She graduated from Hong-ik University with a B.F.A in Printmaking, and is currently in the M.F.A program at University at Buffalo where she has been teaching intaglio, collagraph, and screen print courses. Shin is mainly working in intaglio, screen print, relief print, and multimedia.
www.mzzzn.com

Phyllis and Victor Merriam 3D Printed Relief Plates

acrylic drypoint demonstration process

We are postdigital printmakers – combining digital technology and traditional printmaking techniques. We will be demonstrating our method of creating 3D printed relief plates using fused filament fabrication.  We will discuss the software and methods we use to create our plates as well the workflow from image to plate.  We will bring our 3D printer as well as finished plates to demonstrate our printing techniques.

About Phyllis and Victor Merriam
photo of Phyllis Merriam with husband Victor

Phyllis and Victor Merriam are New York-based postdigital printmakers. Their blog, thepostdigitalprintmaker.tumblr.com, features printmakers who merge digital and traditional methods. They have participated in numerous solo and group exhibitions and created murals in Williamsburg, Brooklyn.  Victor holds a BFA degree from the Fashion Institute of Technology.  When not in the studio, Phyllis is a Clinical Assistant Professor at New York University School of Dentistry and is an attending dentist at New York Hospital Queens.
http://thepostdigitalprintmaker.tumblr.com

Darian Goldin Stahl Encaustic Transfer of Toner Prints onto Silk

	
Title page for “MRI IN USE” artist book in progress.

Printmaker Darian Goldin Stahl will demonstrate how to create toner transfer prints onto silk using encaustics and beeswax. With only a few pieces of equipment needed, including a hot plate and light table, this technique can be done in any studio or in the home. Waxed silk contains beautiful translucent qualities that can be read from the front as well as the back—making it adaptable for print installations or artist books. The final print is strong yet pliable, opaque or transparent, and easily incorporates a full color range. The benefits of this transfer technique are that it is non-toxic, does not require the use of a printing press, and provides a rich, dimensional, and full-color photographic print.
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About Darian Goldin Stahl
photo of Darian Goldin Stahl

Darian Goldin Stahl is a printmaker and bookmaker currently residing in Canada. A number of her works concentrate on the complex emotions that accompany a medical diagnosis of chronic illness and the status of our fallible bodies. Her work is informed by the dichotomy of how the body is able to perceive and what is further revealed by internal medical scans. Her wish is to restore a fractured sense of identity by joining the skin’s surface perceptions with medical scans to re-humanize their anonymous and alienating qualities. This arts-based research is a collaborative cycle of informing and reconstructing identity with her sister, Devan Stahl, who is a Clinical Bioethicist at Michigan State University and has multiple sclerosis.

She is a PhD student in Fine Art Humanities at Concordia University in Montreal, and recently completed an eight-month scholarship residency at Malaspina Printmakers in Vancouver, British Columbia. Darian received her MFA in Printmaking from the University of Alberta in 2015, and her BFA in Printmaking at Indiana University Bloomington in 2011. Darian’s arts-based research focuses on the medical humanities, patient narrative, and chronic illness. She has recently been awarded solo and two-person exhibitions in Vancouver, Calgary, Ottawa, and Winnipeg.

To see more of Darian's work, please visit her website: www.dariangoldinstahl.com

Summer Ventis Using Woodblocks for Monoprints

Monotype from Woodblock, In-process

This demonstration will explore the possibilities of using woodblocks to create monotype prints. Techniques used will include selective inking of carved woodblocks, trace monotype from wood, use of different ink consistencies to achieve different effects, and incorporation of paper and mylar stencils.
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About Summer Ventis
photo of Summer Ventis

Summer Ventis received a BA in Art from Grinnell College and an MFA in Printmaking from the University of Colorado at Boulder. Her work has appeared in national and international exhibitions, including “Beyond Printmaking 4” at Landmark Arts in Lubbock, TX and “Collision and Equilibrium” at the Liu Haisu Art Museum in Shanghai, China, and is held by collections, including those of the Denver Art Museum and Proyecto ’ace in Buenos Aires, Argentina. She is currently the Virginia A. Myers Visiting Assistant Professor in Printmaking at the University of Iowa.
summerventis.com

Mumu Wang Traditional Chinese Relief Hand-Printing (Woodcut, Watercolor and Rubbings)

Rubbing print with rubbing pounce

Chinese woodcut water-based rubbing prints have a long history. Since 173 AD rubbings have been used to capture images from objects in China. The earliest known dated printed book survived from 868 AD. Mumu Wang would like to demonstrate the Chinese woodcut rubbing technique to help continue this amazing tradition for generations. For the demonstration, Mumu will make a short presentation about the technique's history, teach how to prepare the woodblock, teach how to make the tools, and quickly demonstrate how to print a block in just seconds with water-based inks.

About Mumu Wang

Mumu Wang, biographical photoMumu Wang prints in the Chinese traditional woodcut and intaglio discipline. All of her works are based on Chinese culture. She likes to combine techniques and discover new possibilities in printmaking. She has created installations with Chinese woodcut prints and enjoys making Chinese watercolor prints for the Chinese New Year. She also makes Chinese rubbing prints from trees, walls and other objects.
www.mumu.portfoliobox.me

Craig Dongoski Creating, Extracting Bio-Feedback, and Printing from Cupules

Craig Dongoski's demonstration and performance, Rock-Cupule

A Common Task: Rock-Cupule (Demo and Performance): Cupules will be respectfully and deliberately created by participants on one large stone. Relief prints from these cupules will be produced as a tangible outcome during the GSU “Printmaking in the Park event”. Sophisticated Bio-Feedback will be utilized to expose and explore energy from the stone and to be used as a potential performance material. This is an active interaction with the past that has literal, mystical and ritual connotations.

Note: Cupules are hemispherical, cup-shaped, non-utilitarian, cultural marks that have been pounded into a rock surface by human hand. Cupules are the earliest known prehistoric art, have been found on every continent except Antarctica, and were produced during all three eras of the Stone Age - Paleolithic, Mesolithic and Neolithic

About Craig Dongoski

Craig Dongoski biographical photoCraig Dongoski is a Full Professor in Drawing, Painting & Printmaking at Georgia State University in Atlanta, Georgia USA. Dongoski has been exploring and articulating the mark in its most basic form (both graphically and aurally) for much of his career. It is his intention that through varied interpretations of these basic marks that a contribution can be made to the art historical dialogue concerning the origins of human expression. Professor Dongoski has performed and produced work each year at the Ionion Center on the island of Kefalonia, Greece since 2011. In 2015 he collaborated with artist John Roach in producing a series of sonic-based installations and performances as well as a series of drawings on Kefalonia. He is represented by WhiteSpace gallery in Atlanta, Georgia. Web site address: drawingvoices.com