Chicago Printmakers Collaborative
On Display: July 9, 2010 – September 3, 2010
Artist Reception –7/24/10 5-7pm
The Chicago Printmakers Collaborative provides a studio environment for artist-printmakers to pursue their work and to broaden their knowledge of printmaking media. With facilities for intaglio, lithography, relief, monotype, screen printing, and photo processes for printmaking, the CPC has served as a professional studio for more than 200 members from 14 different countries.
While the CPC provides continuing education through classes, workshops, exhibitions, tours, visiting artist lectures and demonstrations, it has also participated in exchange collaborations with similar institutions around the world, including projects with printmakers in South Africa, London and India. Founded by Deborah Maris Lader in 1989, the CPC has served Chicago-area artists for over 20 years!
Creating art is my key to a life with purpose, a way of finding my inner self, and a way to share my vision.
My current series of work is called "OUR CITY, OUR NEIGHBORHOOD". This series is comprised of simple urban scenes that enhance some aspect of reality through a manipulation of light, color and texture.
My intent is to capture an emotional point in time within each scene whether it be nostalgic reflection, simple observation, or a happy glance into a moment's fleeting possibilities.
Screen printing allows me to reduce the idea to its simplest form or to be as detailed and complex as I want. The repetitive nature of printmaking gives me a chance to experiment, adjust, and sometimes encounter those happy accidents that are all part of making art.
My art is a continuous creative search for raw authenticity in urban environments and human forms that are constantly changing. Individuals change as they experience life and cities develop and/or decay through time. People and places have history and experience. Cities are weathered by time and through use, taking on a personality of their own from the people and the elements that have interacted with them. It is a combination of all of these factors that creates authenticity.
Looking for subject matter I find simple things that we see every day, things that become symbolic once they are taken out of context. I experiment with the juxtaposition of places, faces, and architectural designs that reflect my diverse personal experiences. My story is a vivid illustration of the end of the last century - a time of deconstruction, discontinuity, and dislocation.
I find that black-and-white prints convey contradictory images better than any other medium by reducing them to the most basic color contrast. My work provides the full spectrum of techniques ranging from renaissance engraving to digital photogravure.
Deborah Maris Lader
The images in my etchings come from dreams, memories, and the ongoing movie in my head, which is often overwhelmed with detail and minutia. I draw straight onto the etching plate, without preparatory drawings or photo models, so that the resulting images are as fresh from my daily sound track as possible. All of the words are written backwards, so that they read forwards when printed. I've gotten really good at this.
If you visit my studio at the Chicago Printmakers Collaborative, the work is so varied that it might appear to have been created by different artists, or maybe "Sybil". I use whatever medium and method necessary to present an honest vision at any given moment, and don't stand on ceremony or adhere to a particular style. My diagnosis might be some form of creative A.D.D. Then there's the music - I'm in this 18-yr-old AltFolk outfit called Sons of The Never Wrong (www.sons.com). Somehow, all of these diverse expressions come out of the same brain. I don't really have an explanation for it. I just use what I can to express the encyclopedic visual world that surrounds me and keeps the endless song in my head on "play". Welcome to my planet.
The "Prism System" series investigates symbolic forms and shapes with sociological significance. Primal experiences, nature and personal identity for example, so basic to our understanding of existence, are symbolized in this totem world. Cultural icons explore associations with figurative images and objects in a symbolic multi dimensional and connected space. (Conceptually based on a touch of String theory and a dash of alchemy.)
The materials and techniques represented in these works include: rice paper, thread, acrylic paint, gouache, gold leaf, screen printed papers, photo polymer plate and collagraph printed elements assembled onto two color monoprints on Rives BFK.
Utilizing printmaking and collage as an extension of drawing and painting, I have found that in the realm of two-dimensional expression that mixed media collage is the most authentic and subjective tool to express my voice.
The imagery in my work is intended to be suggestive but not conclusive. The viewer will recognize realistic representations of space and scenes organized in a logical manner. The action of the images is something that the viewer will not see in everyday life - coffins or wigs floating to the sky, for example. The work begins with my experience and my desires. I leave it to the viewer to complete the meaning through his or her own understanding of what I present.
An admitted lifelong lover of the city of Chicago, I like to demonstrate that fondness through my art. Since 1995, I have been making prints at the Chicago Printmakers Collaborative, learning from Deborah Maris Lader, Margaret Buchen, Duffy O'Connor, and Molly Briggs. Printmaking in all forms became my medium, focusing on Chicago scenes and those limitless possibilities.
Megan Sterling is an artist and printmaker from Idaho currently living in Chicago. She received her Master of Fine Arts in Studio from the School of the Art Institute of Chicago and her Bachelor of Fine Arts with an emphasis in printmaking from Boise State University in Boise, Idaho. Megan is currently a full-time professor at Harrington College of Design, studio assistant for Chicago artist and printmaker Jeanine Coupe-Ryding, and volunteer at the Chicago Printmakers Collaborative. She has had recent and upcoming solo exhibitions of her large-scale cut-out drawings of disembodied limbs, as well as participating in group shows in Chicago, Evanston and St. Charles, IL and Columbia, MO.
Meganís drawings explore the point of contact of hands and feet to investigate expansive aspects of liminal space, longing and confrontation of the body. She is interested in meddling with duality, utilizing gesture and implied pressure (or lack thereof) to generate a physical tension that transcends to the psychological. Aside from her large drawings, Megan also works in various mediums within printmaking, including etching, collograph, relief, screen-printing and artist books. She not only explores the same ideas with these printmedia techniques, but she is also interested in manipulating and re-presenting the evocative imagery and language from American childhood nursery rhymes, stories and songs. Her work is often an attempt to re-contextualize the meaning and significance of the iconography and language of the stories in a contemporary aspect.
The immobility of objects that just recently were imbued with life has been of particular interest to me. Life crushed by time, remnants of recognizable organisms: animals or humans, humans that only recently surrounded us, now remain silent witnesses of the unstoppable processes. We are never prepared when encountering these random reminders of life passing. I stare patiently at the figures flattened by time, making notes.
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