MY FOUNDATION IS SET IN STONE
LOOK AGAIN: ACM Collection Inspires The Boston Printmakers
exhibition dates | May 17 - September 6, 2015
opening reception | Sunday, May 17, 2015 | 1:30 - 3:30pm
The artist, Ture Bengtz, founder of the Boston Printmakers and friend of the family, created the original design for the building under Weyerhaeuser’s direction.
Members of The Boston Printmakers, myself included, are working exclusively with The Art Complex Museum(ACM) on the regenerative exhibition, LOOK AGAIN: ACM Collection inspires The Boston Printmakers, that includes prints from Hiroshige, Hopper, Whistler, Rembrandt, Dürer, Tiepolo, Leighton, Kollwitz and our founder, Türe Bengtz.
For this collaborative exhibition, ACM’s contemporary curator, Craig Bloodgood, and collections manager, Maureen Wengler, selected 42 works from their collection for response pieces to be created by members of The Boston Printmakers.
I chose Kenneth Kerslake’s, A Sense of Place, a photo etching and aquatint that he created in 1977. Below is an exhibition photo from The Art Complex Museum | May 17, 2015
Kenneth Kerslake, print on left | my print, on right
Statements from Kerslake that greatly inspired and influenced the process for creating my print, MY FOUNDATION IS SET IN STONE:
“Printmakers do what all artists do: create images that reflect their world, project their values and interest in the human condition, and imaginatively explore their visions.”
“In printmaking, the materials promote “process” or the development of a thought or feeling as it is challenged by the materials itself.”
“The prime responsibility of the artist is to transform the ordinary, to endow it with the emotion and visual content – to create an image capable of touching other minds and hearts.”
I discovered that the The Brooklyn Museum has an artist proof of Kerslake's print, A Sense of Place (shown below), in their print collection. In October 2013 I arranged a viewing appointment with Alison Karasyk, Curatorial Assistant in American And Decorative Arts, and was brought into the museum's Print Study Center to see the actual print.
Alison Karasyk, Curatorial Assistant in American And Decorative Arts in the museum's Print Study Center, removing the print's protective glassine sheet.
Inspiration photo of DUMBO/York Street for drypoint etching that is chine collé'd to the center of, My Foundation is Set In Stone.
All printing plates are created and printed in reverse.
The Japanese dye, Kakishibu, is brushed onto 42"h x 30"w sheets of 300 grams BFK Rives for the embossed border print. The dye becomes darker when exposed to the hot sun. Dried plants are laid on top of the paper to block the sun, creating subtile patterns on the paper.
Analine dyes are then poured onto the paper and the excess is rinsed off with water.
The finished sheet after being dried and ready to be printed with the embossing plate.
Inked embossing plate set up on the press.Additional artist proofs of print(s):