We Began There and Converged Here

An exhibition of printed art works.

Alex Campaz

My recent drawings and prints deal with landscapes woven through fractured sequences. Inspired in large part by everyday imagery and symbols from dreams and occult books, the end product is a kaleidoscope of every day desires and anxieties.

silk-screen on prepared panels

Julian Gatto

Mobility and portability have become an important part of my work. Along with a watercolor box, I can take a piece of paper with me and paint where ever I want. Luckily, water is still available for free in most parts of the world.
http://www.muitotosto.com/julian/

ukiyo-e woodblock print

Maki Yamaguchi

There are two things I love about printmaking--process and accidents. The longer and more difficult the process is, the bigger satisfaction I get from the finished piece. And accidents give unintended effects which I can never create in any other media because I'm a control freak. The first tornado consists of 14 colors, and the second one has 21 colors. There will be a third and last sequence to finish the whole story, but I haven't even started yet. The two prints took long time and a lot of energy, but I'm happy that they turned out somehow different and a lot better than I had thought they would be.

I don't know if my Japanese background has any effects in my image making, but I always make things not because I want to tell something, but to see something. There is no message or purpose; it's all about the images that please my eye .

silk-screen print on sommerset paper

Alfredo Garcia

Maps, aerial photographs and microscopic imagery, namely of germs and insects, are all my starting points. The infinitesimal realms of organisms compel me to envision the powerful and sometimes harrowing realities they are capable of unleashing. Coastlines, farmlands and oceans are smashed and weaved into these microscopic visions to form idiosyncratic microcosms. Out from under the vast realm of existence and the uncertainty of creation, these necessary aggregates are my preferred form of catharsis.
At no point of inception was there a conscious limitation of expression in these pieces. Instead, there are recurring tendencies and dominating aspects. We see these best aerially; namely the tightly compressed lumped structures which are apparitions of my brand of organizing principles. Transmutation is a theme of the series. The recurring structures are subject to transmutation. Their progressive flux denotes the most mysterious aspect of painting: intuition. Intuition is both an excuse and essential aspect of working with fluctuating images until they properly congeal and ultimately grip.

etching

Aurora De Armendi

My work is intended to submerge the viewer in a poetic space, often process oriented. Through the investigation of process, I feel I witness a fading beauty, allowing images to germinate naturally and ideas to develop of their own accord. Belonging, displacement, duality and time are themes that I find myself returning to and exploring repeatedly, even if at first it is unnoticeable particularly when expressed in an abstract visual language.

lithography and woodblockprint on kitikata paper

Caitlin Gianniny

I work across a wide range of media, including photography, printmaking, performance, video and sound installation. My work addresses issues of memory as well as the examination of social norms and how strange they really are, everywhere. My print Fashionably Bandaged Woman is one of a series of prints made using illustrations from a 1950s Red Cross Manual as well as a found text. They, like many of my other works explore hand-written text as a physical representation of a mental space.

silk-screen and xerox transfer collage on kitikata paper