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Daughter of an artist mother and a musical mathematician father, I came into the world with a nice balance of perspective and a tendency to refuse any one particular creative outlet. I grew up in New England and am currently living in Tokyo, where I earn a living working with 0-5 year olds while making art and music on the side. An active artist since the age of two or so, some of my earliest paintings include a psychedelic hillside spotted with black sheep (age 4), and a horse trying to eat grass as he gets sucked up into the stars (age 7).
I’ve been doing printmaking for about ten years, mostly woodcut and linocut with some silkscreen and lithography in between. I am largely self-taught, with a few courses in printmaking and animation completed at the School of the Museum of Fine Arts. I also create comics and embroidered drawings. My work has been described as narrative, and I like to explore topics of connectedness, instability and personal landscapes, always with a sense of humor. I love to work with high contrast, black and white, and flat imagery. My inspirations are very internal: dreams, visions and stream-of-consciousness doodles. I also have a bit of an obsession with kitchenware.
1. Kitchen Spread (green). This silkscreen print is from a series of textile-inspired pattern prints, in which I explore slicing up images and putting them on repeat. Bon appetit!
Hi my name is Byung and I am silkscreen artist from Los Angeles, California. I come from a background in architecture. It only took me 5 years of school and 4 years working in the field to realize that my real passion lies in art. I see my background in architecture as an essential part of my art. I do not believe that I would have created my current style if I never did architecture. Also my approach to almost systematically changing elements from one print to the other is probably due to my architectural background. Even my preferred medium of choice is influenced by architecture. I sketch my designs on paper first but finalize the color and designs in an architectural drafting program.
I love using the eye as my main motif in my work. It is easily recognized and unmistakable. It can be shown in a simple form but still have such a strong impact.
I have not named most of my prints. I see them more as a continued development and experimentation using the same theme. The prints are assigned a number to represent the order in which they have created.
I am an artist and professor of printmaking and drawing based in Nashville, TN. As a child with an overactive imagination, I often envisioned the world as nothing more than dolls and creatures acting out fantastic narratives. I had a difficult time keeping my head in reality, and I never knew when something I was staring at would become a magical door to another world. When I slept, I was constantly visited by fantastic nightmares. My dreams were inescapable and graphic, filling my mind with vivid images I wanted to relay upon waking.
My prints, drawings, and animations draw from my influences of fantastic, imaginative worlds and lucid dreams. I draw my subject matter from questions, emotional reactions, and fascinations. I use my art to explore the human condition, revealing my personal view of the world, in the hope that others will compare and relate this exploration to their own. It is my belief that the sharing of stories and emotions helps humankind to understand themselves better by peering into the thoughts of others.
Plate 1
In this series about the my unconscious thought process, I print out an original rorschach inkblot used in psychoanalysis in light grey. I then draw directly over the shape in pencil with my first impulse of what I see in the abstract forms.
My name is Matt Rebholz and I am an artist and a professor of printmaking and drawing based in Austin, Texas. My recent work has to do with the intersections of science fiction, science fact and the spectrum of utopianism/dystopianism that those intersections represent. My work is inspired by comics, art historical figures such as Albrect Dürer, and technical illustration.
Most of these pieces are etchings, a 500 year old printmaking process. It involves hand drawing the images onto a copper plate, then submerging the plate in an acid that chemically etches the linework into the metal. Ink is then driven into the lines and it is transferred to paper by passing it under the steel roller of an etching press. I produce my prints in limited editions (typically between 5 and 20 impressions), and while very similar, each impression is unique. For more on how prints are made, please check out this excellent interactive cartoon produced by the Museum of Modern Art:
This piece explores the concept of the Arcology, a hybridization of the words architecture and ecology that refers to a self-contained, self-sufficient living structure. In this etching, rival arcologies constructed from various spacecraft components are densely packed together in a vertical environment reminiscent of an urban landscape. It is unclear to me whether they are cooperating or squaring off against each other.
