Tag Archives: Printmaking

Meet the Artist in Residence: David Fludd

David Fludd, artist in residence at Main Street Arts during the month of June 2019, is working in one of our two studio spaces on our second floor. We asked David some questions about his work and studio practice:

Artist David Fludd

Artist David Fludd

Q: Please you tell us about your background.
I currently live and work in New York City.  I have a BA, in art from Morehouse College and an MFA in painting and printmaking from the Yale University School of Art. I have also attended Skowhegan.

The layering and building of textures is apparent in my paintings. I am interested in creating textures and working with color as well as black and white. I see the process of printmaking and painting as being related.

David Fludd, “Untitled”, 2018, Acrylic on Paper, 24”x30”

David Fludd, “Untitled”, 2018, Acrylic on Paper, 24”x30”

I am interested in printmaking and its multifaceted possibilities in terms of changing a single image from print to print. Printmaking is open to improvisation and experimentation; printmaking informs my painting practice.

I draw from life as well. This experience is important and adds to my art. The works are open to interpretation. In this manner, dialogue is invited. I also play the piano and compose music.

David Fludd, “Untitled”, 2018, Acrylic on Canvas. 50”x32”

David Fludd, “Untitled”, 2018, Acrylic on Canvas. 50”x32”

Q: What type of music do you listen to?
Music informs my work technically and in the way that I approach a canvas — with the ideals of exploration. I am constantly exploring music and experimenting with composition. Improvisational concepts are present in the works and basic musical compositional techniques such as retrograde motion and augmentation are present. I compose and perform as a pianist.

David Fludd, “Untitled”, 2018, Acrylic on Paper, 19”x24”

David Fludd, “Untitled”, 2018, Acrylic on Paper, 19”x24”

Q: What are your goals for this residency?
I plan to create works on paper and to work with drawing and watercolors. I am interested in experimentation. The art that I plan to create will be improvisatory and experimental in nature. The  compositions will be open to interpretation.

The works that I create are influenced by where they are created. By this approach the works express the experiences of where they were created. The art expresses the experiences of working by the sea or in a city, or more rural place in a unique way. In this regard multiplicity exists and thereby expresses many places, often simultaneously.

Untitled. oil on canvas, 2016, 18”x24”

David Fludd “Untitled”. oil on canvas, 2016, 18”x24”

Q: What is your process for creating a work of art?
I have an open sensibility in creating art and I am constantly learning, experimenting; trying new ways of creating and seeing. All of the parts of my compositions are carefully arranged in the process of creation. I am interested in a spontaneous methodology as a way of articulating compositions.

I explore color and texture and multiple approaches to painting and drawing. I make an effort to instill an awareness of seeing the fundamental basic shapes and structures in my art. I have studied many paintings throughout the world. I am fascinated by different approaches to painting and drawing and instill my own work with a vibrancy and sense of looking forward while understanding painting from a historical viewpoint.

Meet the Artist in Residence: Taylor Kennedy

Taylor Kennedy, artist in residence at Main Street Arts during the month of May 2019, is working in one of our two studio spaces on our second floor. We asked Taylor some questions about her work and studio practice:

Taylor in her studio at Pratt Institute.

Taylor in her studio at Pratt Institute.

Q: Please tell us about your background?
I was raised in Sodus Point, NY ( which is a 30 minute drive North of Clifton Springs). I attended the Rochester Institute of Technology and graduated in 2015 with my BFA in Fine Art Studio. While in my last year at RIT, I realized I was not done with my education. I was just hitting my stride in my practice and wanted the safety (haha) and challenge of a MFA program. I was very lucky to get into Pratt Institute, as I was even younger and less “experienced” in the art world then. So, I moved to Brooklyn in August of 2015. It was hard, but it was what I needed. I graduated from Pratt in 2017 with my MFA in Printmaking. I stayed in the city until this past February, when I moved back home.

I have been drawing ever since I can remember. My family has a “knack” for artistry; vocally, instrumentally, written and visually.  My generation has been the only one to pursue full fledged artistic careers. I think we saw how much our parents/uncles/aunts wished they devoted more time to the arts. That is not to say it is easy, making a career in the arts; because it is fucking hard. But I can’t see myself as anything else.

I’ve worked as a teaching artist. An artist assistant. A nanny. A dog walker. A house-sitter. Living the stereotype of an artist. But these are all jobs that add to your practice, that give you insight. Make you real. Currently, I work as a substitute teacher.

I Want You in My Posse (Preliminary Layout), 2019

I Want You in My Posse (Preliminary Layout), 2019

Q: How would you describe your work?
Oh boy, I am laughing as write this. It is, for lack of a better word, my diary. I have gotten slack for my work being too “cathartic” or “therapeutic” as I speak so much of my personal background. I don’t think I would get that critique if I was a man, but I keep making it.

My work is my memory. Or memoir. Or ode to my family, as ironic as that may seem.  Or all of the above.

I think there is a universal language felt when looking at imagery that was created to speak to the poignancy felt in everyday family life. At least, that is what I am trying to poke at. I have seen and felt heartache and loss, divorce, suicide, addiction, alcoholism and mental illness. But I have also seen and felt middle class pride, true love, perseverance, and growth. They work in tandem, the dysfunctions and the functions. That’s life.

As families, we live our lives in cycles. In patterns. Sometimes, we think we break them, but I have come to find that we recreate those cycles in some other form. Across generations. Across bloodlines.

When I speak of family, I am not only speaking of my blood relations. I am speaking of my friends. Or the people I snap pictures of on the street that are sharing a moment. Or even animals. Inanimate objects telling a metaphorical familial story.

We are all related, in some way. That is what I want my work to evoke.

Chicken Soup, 2018

Q: What is your process for creating a work of art?
Right now, I have a bank of reference pictures I draw from. That includes old personal family photos, photos I have taken and stock images I find on the internet.

For a drawing, I lay out a piece of paper, print out what reference photos are speaking to me, and start a layout in pencil or vine charcoal. Sometimes, I cut out parts. Sometimes, I add aspects of other reference photos. Sometimes, I go on memories I can still visualize in my head. It depends on that exact moment. I have been trying to be more considerate of composition, leading me to make collages of the reference photos I am thinking of using.

I follow it. I try to not plan too hard. I make notes on the paper, or the walls if I can, if I have thoughts related to my practice (which, if you haven’t noticed, is everything in my life). If it calls for becoming sculptural or an installation, I listen to it. You have to listen to the work. Sit with it. I don’t like to kill work. That is the worst.

I Want You in My Posse (Preliminary Layout), 2019

Man’s Best Friend (Preliminary Layout), 2019

Q: What are your goals for this residency?
I am going to work on illustrating a children’s book that was written by my aunt, Sara Kennedy. It is going to be a challenge, seeing that I am not necessarily a “planner” and more intuitive in my process. But it is a challenge I look forward too, as it is going to be a way of learning to simplify compositions that are strong in their convictions. The imagery needs to read as if the text was not there.  The studio has printmaking equipment that I will take advantage of; I envision creating mixed media illustrations using drawing, collage and printing.

I also plan on getting some painting done. I am not a painter. Not at all. Painting is really hard. And not everyone realizes how hard painting is/that they should not be painting, because they are not painters. But, I have a ton of canvas and paint, so why not challenge myself even more? That will be more personally based. I am envisioning a large tableau-style painting of a pick-up truck right now. I’ll get back to you on if that comes to fruition.

Taylor in residence at Sodus High School, 2019

Taylor in residence at Sodus High School.

Q: What is the most useful tool in your studio?
My body. Your body is your number one tool. I have never been an athlete, never into exercise, but if you want to make it as an artist, you need to keep yourself healthy, physically and mentally. I have carpal tunnel in my dominate hand. Arthritis, MS, and Fibromyalgia run in my family. I am trying to get myself strong. What is the point of making large things if you cannot physically handle them?

Tape is good too. You can make anything with a roll of tape.

Q: Who is your favorite artist and why?
Celeste Dupuy-Spencer. Toyin Ojih Odutola. Nicole Eisenman.  Genieve Figgis. Kerry James Marshall. Egon Schiele. Alice Neel. Red Grooms. Marisol Escobar.

They are storytellers. They were/are transparent. I think it is honest. Their work is not trying to be “art”, it just is.

"Ven, To!" (Preliminary Layout), 2019

“Ven, To!” (Preliminary Layout), 2019

Q: Where are your favorite places to see artwork?
Kids make the best work. And they have no idea, which makes it even better. So schools, the backs of homework, scraps of paper, desks. Anywhere a kid would create.

Q: Do you collect artwork? Tell us about your collection.
I do, a little. I have work of my peers and of young artists (kids) I have taught. The adult work I have mostly because of trading them with my own work. The kid work I have is because it was gifted to me or I commissioned it. I would rather pay a child to make me something than an adult.

I suppose I am a sentimental sucker at heart. But that is the only way to be.

Town of Sodus, 2015

Town of Sodus, 2015

Q: What’s next for you?
At this moment, making dinner. I am trying really hard to not think ahead. I am an anxious person; I have to teach myself to live in the moments.

Q: Where else can we find you?
I am on Instagram @taylor_mica_kennedy and my website is www.taylormkennedy.com

Meet the Artist in Residency: Andrew Palladino

Andrew Palladino

Andrew Palladino

Q: Please you tell us about your background?
I am a Boston based printmaking artist, I recently graduated with a BFA in printmaking from the Massachusetts College of Art and Design.  I’ve been making art for about the past five years now but my time printing goes further back than that. Before MassArt I attended vocational school for production commercial printing, specializing in offset lithography and silkscreen.

Empty in the Cave, Intaglio, 12.5x23.5in, 2018

Empty in the Cave, Intaglio, 12.5×23.5in, 2018

Q: How would you describe your work?
A majority of my current work is etchings and silkscreen prints. My prints are abstractions working off of maps and diagrams. I use observation and pre-existing information to create completely impossible forms and uninterpretable figures. I look at things very analytically yet display them with more open readings, swinging the real into my own pieces of art.

Q: What is your process for creating a work of art?
I work heavily with layering, the pieces build themselves that way. I make a lot of components in a drawing that may not even appear in the final print, but the contribution to the overall drawing is important to me. The image builds and thickens, usually to the point of being over-done, but that really shows how my mind works while creating. I tend to get fixated on my work and bring it past the point where my initial intention would be to stop.

Margin Treader, Intaglio, 12x8in, 2017

Margin Treader, Intaglio, 12x8in, 2017

Q: What are your goals for this residency? 
This residency for me is most about experimentation. I’m mostly looking to get as many things on paper in different ways. While I normally publish works in formal editions I want to stray from keeping things looking uniform and really just take some time to print and collage and reprint.

Untitled, Intaglio with Chine Colle, 12x8in, 2018

Untitled, Intaglio with Chine Colle, 12x8in, 2018

Q: Who are some of your favorite artists? 
My favorite artists currently are people like John Walker, Terry Winters, Anselm Kiefer, and Julie Mehrutu. They all demonstrate the ability to tackle small marks translating into extremely larger compositions, which is something that captivates me when looking at art.

Q: Do you collect artwork? 
I have a small collection of other artists’ works, I really only limit myself to things I could show in my home and on my studio walls as opposed to having things locked away in storage. Mostly I just find myself getting pieces from local artist friends back in Boston, though a few works are from artists I did print publishing projects for such as John Walker and Kiki Smith.

I, Intaglio, 5x9in, 2017

I, Intaglio, 5x9in, 2017

Q: What’s next for you? 
Currently, I am building and improving an in-home studio in Boston while making work there. I mostly show around that area as well though always looking to reach out to new spaces.  I would like to venture further onto getting an MFA, but that seems a ways away for me at the moment.

Q: Where else can we find you? 
My website is cargocollective.com/andrewpalladino and you can find me on instagram: @apalladino309

PatBacon_OldOrchard_cropped

Inside The Artist’s Studio with Pat Bacon

If you want a label, today I would say that I am a “photographer/printmaker” knowing full well that I have a painter’s sensibility. I like to color outside of the lines and to experiment, which is not really a practice that is compatible with traditional photography or printmaking. There is a prescribed process and set of steps that you should follow.

Experiment with printmaking and fire

Experiment with printmaking and fire

Printmaking and photography, like all mediums require understanding and mastery. The intrigue for me is to gain mastery while not being a slave to the expected process. When working, I want to collaborate with the subject, using the chosen media to make the unspeakable into something concrete.

Hedgerow Fog, photogravure, 2018

Hedgerow Fog, photogravure, 2018

Burn Pile, photogravure, 2018

Burn Pile, photogravure, 2018

Currently my art incorporates printmaking, photogravure, and collage. Photographic images from my camera, scanner or phone capture a specific moment. What I do with those images after capturing them allows me to elevate the quiet and insignificant in a loud world. Each of my pieces carry the trace the marks of the process of making them.

"Old Orchard" and "Burn Pile", digital prints made from photogravure images with wax and oil paint.

“Old Orchard” and “Burn Pile”, digital prints made from photogravure images with wax and oil paint.

Art is not obvious. Art critic, Jerry Saltz once wrote “Art is for anyone. It just isn’t for everyone”. My work is not for everyone. I start working on something for the possibility of interacting with an image that has the potential to speak beyond the obvious.

Self portrait, in the fog

Self portrait, in the fog


Pat Bacon is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Pat and her work can be found on our website. View more pieces by Pat Bacon on the gallery’s Artsy page.

The finished print with blue, red and grey added by hand.

Inside The Artist’s Studio with Sylvia Taylor

Every spring the spotted salamanders migrate from the woods behind my home in Ithaca, New York.  We watch for them on rainy nights. With a flashlight you can see their little dinosaur bodies moving forward into the night.  My print called The Quickening,  was inspired by the salamander migration.

salamander night

A Little Dinosaur in the Garden

Most of my work is created by a process called relief printmaking. It involves carving a piece of wood or linoleum, rolling ink onto the surface, and then transferring the ink/image onto paper. The final print will be the mirror image of the carved plate.   My favorite part of the process is carving the plate.

But first, I must get the drawing onto the plate.

I often draw directly onto the linoleum plate.

I often draw directly onto the linoleum plate.

Now for the fun part!

Cutting the Lino

Cutting the Lino

More Cutting...

More Cutting…

When you first roll ink onto the plate, it seems to spring to life before your eyes.  I love this part.

The image comes to life and any areas that need to be tweaked show up clearly.

The image comes to life

The plate is inked up and ready to proof

The plate is inked up and ready to proof

Next step is printing. Here’s my press:

My Printing Press

My Printing Press

The Ink from the Lino Plate is Transferred to the Paper...

The Ink from the Lino Plate is Transferred to the Paper…

It typically takes a few days for the ink to dry, depending on the weather

It typically takes a few days for the ink to dry, depending on the weather.

Once they are dry, I can add color and experiment.

Painting spots...

Painting spots…

The final print:

The finished print with blue, red and grey added by hand.

The finished print, “The Quickening”,  with blue, red and grey added by hand.

The word quickening references the idea of something speeding up but it is also a word used in pregnancy for the first moment that a woman feels the baby move in utero. Because I was a midwife for many years, I especially love that double entendre. I frequently see the process of making art with midwife eyes. Birth metaphors always come to mind.

In this print I was interested in exploring a certain kind of psychological undercurrent. Sometimes we experience the kind of change or upheaval that is marked by a departure from life as it has been. There is no going back and no discernible path forward. It’s like the proverbial night sea journey. Carl Jung talks about it as kind of a descent into Hades — to the land of ghosts somewhere beyond this world and beyond consciousness. Whenever I have a character in my art holding a salamander, it’s there to help find the way forward.

We were lost.

We Were Lost


Sylvia Taylor is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Sylvia and her work can be found on our website. View more pieces by Sylvia Taylor on the gallery’s Artsy page.

Meet the Artist in Residence: Sonja Petermann

Sonja Petermann, artist in residence at Main Street Arts, during the month of December 2018, is working in one of our two studio spaces on our second floor. We asked Sonja some questions about her work and studio practice:

SP Photo

Sonja Petermann

Tell us about your background
I live in St. Louis, MO, where I’m from. I received my B.F.A. with concentrations in printmaking and drawing from Ohio Wesleyan University. Since moving back to St. Louis, I’ve worked at multiple local print shops, including the Firecracker Press and Island Press.

Petermann_Sonja_05

“Blankets” by Sonja Petermann

How would you describe your work?
My work is quite perceptual and I rarely use color, save for the hue of the paper. Typically, I work from the figure, often within an architectural framework. By prioritizing interesting composition and mark-making more than realistic rendering, I am able to bring out intense contrast and textures for a more expressive piece.

At work in the studio at Main Street Arts

At work in the studio at Main Street Arts

What is your process for creating a work of art?
It’s hard for me to determine exactly where my process begins because my life and my work are constantly influencing each other. Even though my work is not highly conceptual, topics I studied in school or am generally curious about often find their way into my creative process. I read, journal, sketch, and take photos in preparation for my projects. Though I think a lot about my subject matter and compositions, I really let myself go when I begin to work on a new piece or edition. This way I can react to the piece as it evolves and avoid becoming close-minded when things go in a different direction. In addition, I usually have multiple pieces in progress at the same time. It’s a great way to continue making, even if you’re stuck.

Drawing in progress in the studio at Main Street Arts

Drawing in progress in the studio at Main Street Arts

What is the most useful tool in your studio?
Paper! Paper is amazing.

4. Kat on the Boardwalk

“Kat on the Boardwalk” (a work in progress)

What are your goals for this residency?
Currently, I am exploring collagraph, one of many print processes. In the beginning, I’ll explore which materials and tools make which marks and tones. The print above is an example of what collagraph can look like (this piece is a work in progress). Once I have refined my methods, I will begin printing a series of prints relating to memory. My goal is to finish this series.

What’s next for you?
After this residency, I will return to St. Louis where I have a job waiting for me as well as a space I hope to turn into a studio. Still, I will continue applying to residency programs.

Where else can we find you?
Instagram is the best bet: @sonjapetermann . I have a Facebook account, but I rarely use it these days. Website coming soon!

 

Meet the Artist in Residence: Amber Roach

Amber Roach, artist in residence during the months of November and December 2017 at Main Street Arts, is working in one of our two studio spaces on our second floor. We asked Amber some questions about her work and studio practice:

Amber Roach

Amber Roach

Q: Tell us about your background.
I was born and raised in Syracuse, New York. I graduated from Syracuse University with a BFA in illustration.

Q: How would you describe your work?
My preferred medium is relief printmaking. However, I wouldn’t confine myself to only using a printmaking process when making a piece. If I feel it would be enhance by painting or drawing I’ll work in a more mixed media fashion. I would describe my work as graphic yet textural.

Prints by Amber Roach

Prints by Amber Roach

Q: What is your process for creating a work of art?
Once I’ve decided on a subject matter I start out with very loose thumb nail sketches. After I feel I’ve gotten a decent composition I’ll transfer my drawing to the block and redraw it with more detail. I carve the block and do about a dozen test prints to figure out which colors to use.

Q: What are your goals for this residency?
For this first month, I want to fine tune my portfolio and create more pieces that are cohesive with my current body of work. Primarily I’ve been making linocut pieces. For the second month, I want to get back into oil painting.

Amber Roach working in her studio at Main Street Arts

Amber Roach working in her studio at Main Street Arts

Q: What is the most useful tool in your studio?
My glass palette.

Q: Who is your favorite artist and why?
My favorite contemporary painter is Kent Williams because of his use of color and the way he captures the figure. My favorite contemporary printmaker is Kathleen Neeley — I admire her style and the characters she creates.

Q: How do you promote your work?
Mostly through my Instagram but I’ll also send out mailers to art directors.

Print by Amber Roach

Print by Amber Roach

Q: What’s next for you?
After this I will probably be planning a move to New York or hunting down another residency.

Q: Where else can we find you?
Instagram: @amberleighroach
My website: www.amberroach.com
Etsy: www.etsy.com/shop/amberroachart


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts. Artists in residence have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly. Upcoming deadline: November 30, 2017 for a residency in January, February or March 2018.

Meet the Artist in Residence: Chas Davis

Chas Davis, artist in residence at Main Street Arts during July 2017, is working on prints and paintings. We asked him a few questions about his artwork and studio practice:
Portrait of the artist

Portrait of the artist

Q: Tell us a bit about your background.
I grew up in Indiana, and like most kids, started drawing at an early age. I just never stopped, and have been a painter and a printmaker for most of my life. I guess that’s it in a nutshell. I have been in Rochester since 1996, and my studio is in the old Valley Cadillac building at 339 East Ave. I have taught here and there and now and then, at RIT, the Creative Workshop at MAG, and Roberts Wesleyan, for example, and currently teach a monoprint series of classes at the Flower City Arts Center, formerly Genesee Center of the Arts. You can see some of the more fun things I’ve done in Chas Davis’ Rambling Bio.

 

Artworks Gallery, 2015

Artworks Gallery, 2015

Q: How about some of your influences?
I was blessed growing up with many generous teachers, and while I was never too influenced by any one style of imagery, I was more impressed and influenced by hard work and the different ways to arrive at a solutions to visual problems.

 

Here I am doing some detail work.

Here I am doing some detail work.

Q:Where do you find inspiration?
I am very inspired by the landscape. I have travelled a lot around the country and the more time you spend in nature, the more you realize that everything is interconnected, and alive. I am inspired by simplicity, and by literature. Stories—especially the evolution and dynamics between events and characters—feed the imagination and create an alternate universe. These are some of the important elements that feed into my work. This is why I was attracted to Clifton Springs, because it is central to the Finger Lakes landscape, and it is in an area with a rich history.

My studio at Main Street Arts

My studio at Main Street Arts

Q: What do you hope to accomplish in your residency at Main Street Arts?
I have always wanted to work specifically with the Finger Lakes landscape, so I will focus on that. Since there is an etching press outside the studio I will fool around with that and see what happens. Then I have a few surprise projects that I have no idea what will happen, so we will see. I would also like to get familiar with the area and meet new people as well.

Q: Where else can we find you?
I have a web site, www.Chasworld.com and a studio page on Facebook, www.facebook.com/ChasDavisStudio.

 

Inside the Artist’s Studio with Katherine Baca-Bielinis: Printmaker

Katherine’s artwork is on view in our juried exhibition “Small Works 2016”. Her work is available for purchase in our Online Gallery Shop:
store.mainstreetartsgallery.com


I am often asked how a native of San Francisco ended up in Rochester, NY.  I reply, “It was fate!”  After earning a BA in Studio Art with a concentration in Printmaking from California State University at Long Beach, fate took me on a slow eastward journey across the country that eventually ended in Rochester – my home for the past 30 years.  Fate also steered me to R.I.T. where I received a Masters in Art Education. This resulted in a long, wonderful career teaching art in Rochester area schools.

After retiring, fate intervened once again.  It allowed me to finally focus my energies on my professional art career and led me back to printmaking – my true artistic passion.  I have directed my initial efforts towards learning non-toxic processes that afford me the ability to work in my home studio, as well as the Printmaking studio at R.I.T.  All forms of printmaking fascinate me.  My current efforts are primarily focused however on lithography and etching with an occasional departure to silkscreen. These methods enable me to draw, which is an essential part of my work.

My home studio.

My home studio.

My current imagery stems from a love of old world architecture and a desire to present the grandeur of the urban environment. In our hectic lives, full of distractions, it is often difficult to take a moment to enjoy the beauty around us. In my work, I hope to reconnect the viewer with the elegance and craftsmanship of these architectural features that were missed along the way.

My process usually begins with a photograph that I have taken – in this case,  “Casa Batllo”  in Barcelona at Antoni Gaudi’s architectural masterpiece.

Photo, Casa Batllo, Barcelona.

Photo, Casa Batllo, Barcelona.

A drawing is then developed from the photo.

Drawing for silkscreen "Casa Batllo", based on a photo  taken in Barcelona.

Drawing for silkscreen “Casa Batllo”

Silkscreen is a shape-based method, so the next step is to develop the color separations on tracing paper or vellum, always keeping in mind that overlapping colors will create additional colors.

Color separations on vellum.

Color separations on vellum.

Each separation is then transferred to a silkscreen using photo emulsion and a light exposure unit.  I use ink dispersions in a transparent base medium which allows for a subtle build up of colors, almost giving the appearance of watercolor.

Silkscreen with image transferred to emulsion.  This is now ready to print.

Silkscreen with image transferred to emulsion. This is now ready to print.

Each color builds upon the last until all colors have been printed. Below is the completed  silkscreen, currently on view at Main Street Arts Gallery, Small Works Exhibition.

Completed silkscreen, "Casa Batllo".

Completed silkscreen, “Casa Batllo”.

Additional works can currently be seen at the Mill Art Center and Gallery, ROCO and the Ink Shop.


Stop by Main Street Arts to see Katherine’s work in our current exhibition “Small Works 2016” (juried by Bleu Cease, Executive Director/Curator of RoCo; exhibition runs through January 6th). Katherine’s work is available in our Online Gallery Shop: store.mainstreetartsgallery.com. Visit her website at www.kcbaca.com.

Take a look at our previous Inside the Artist’s Studio blog post by artist Richard Harvey.

Inside the Artist’s Studio with Heather Swenson: The Link Between Silkscreen and Collage

A little over four years ago I moved back to Rochester after graduating from Purchase College of Art and Design with a BFA in Interdisciplinary Visual Arts and a concentration in Painting and Printmaking. Since then I have continued to work across several mediums, moving between silkscreen, collage, painting, sculpture and installation. Currently I have been focusing on silkscreen and collage, noticing their similarities and working to integrate principles of collage into my prints.

My screenprints always start from a drawing, often one that I cut up and rearrange. This drawing often goes through many stages before I settle on a composition for the final print. Through the images below I will walk through the process of making one of my recent screenprints, Temporary Stability.

One of the first compositions for Temporary Stability.

One of the first compositions for Temporary Stability.

Final drawing for Temporary Stability.

Final drawing for Temporary Stability.

I sort through an ever-growing collection of old books and paper for inspiration, often adding new elements into the drawing.

Paper scraps from my collection.

Paper scraps from my collection

Once I arrive at the finished drawing I start making layers for the print. I lay a sheet of acetate over the drawing and trace a section with a lightfast marker.  With silkscreen, each color is laid down separately, so for every color in the print there will be a corresponding sheet of acetate. This process of separating colors and focusing on how parts make up the whole link up to the way I think about collage.

Making the layers for the print, this film will be used when exposing the screen.

Making the layers for the print, this film will be used when exposing the screen.

In my studio in the Hungerford Building, I have a small exposure unit that I built to expose the screens and a table with hinge clamps to make my prints.

My silkscreen table  with a screen in the hinge clamps.

My silkscreen table in my studio with a screen in the hinge clamps.

Aside from the loose palette I select for the silkscreen, printing is a spontaneous process for me.  I mix my colors as I work, often making changes along the way.  As shown below the final print, Temporary Stability, is slightly different from the final drawing I made. Instead of the grey shape at the bottom, I printed a scanned security envelope pattern.

The final preparatory drawing and the final print.

The final preparatory drawing and the final print.

Among other prints and a set of small sculptures, I have two pieces in the Upstate NY Printmaking Invitational that bridge the gap between collage and silkscreen. They are collages that I made from cutting up my screenprints. Repurposing of my work in silkscreen brings it full circle to the beginning stages of the process when I am arranging parts for the drawing.

Collage made entirely from cut up screenprints.

Collage made entirely from cut up screenprints.


Stop by Main Street Arts to see Heather Swenson’s prints in our current exhibition the Upstate New York Printmaking Invitational (runs through October 7). You can see more of Heather’s work online at www.heatherswenson.com or follow her on Instagram @heatherswensonart.

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Gregory Page.