Archives for posts with tag: lumen liths

Papergirl Vancouver
One of my favourite events. It’s about sharing. It’s about gifting. It’s like sending out a message in a bottle. This year my work is being distributed Mexico, Bristol, Hannover and Vancouver.

All of the artwork submitted to Papergirl Vancouver will be lovingly placed on display at the Roundhouse Community Centre for a week before riders head out on their bikes to spread art throughout the city.

Join the celebration of another year of art and altruism on Monday, August 24th at 6pm at the Roundhouse Community Centre!

Papergirl Vancouver 2015 Offerings

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I am writing this blog so I can learn to spell and understand pareidolia. In the 70s, I read an article in Scientific American that explained how the eye-brain constructed recognizable shapes from ambiguity. That information gave me insight into how visual art that compelled caused me to look again, and I was sure I would remember that word. I reached for that word many times, talking around it and hoped someone could fill in the gap in my knowledge. That gap was filled in conversation following one of my Facebook posts during  the  Black and White Photo challenge this September. Now in a time when access to this kind of information is only a few keystrokes away, I am able to fill in that gap.

Pareiolia explains why we see the man in the moon, dragons in clouds, faces (especially eyes) in tree bark and projected imagery in reflective surfaces. This rediscovery of this word and this phenomenon gives both an explanation for my fascination with abstract Lumen Print compositions and a context for my artist process. Artwork, music and literature that offer multiple valid readings have always attracted me;  my favourites continue to invite another layer of meaning. My Lumen Prints that render smaller ambiguous pareidoltric artifacts engage my viewers and often spark interesting conversation. I look again.

Bladderwrack and Rainwater (2010)

Bladderwrack and Rainwater (2010)

One of my most enduring compositions, Mother and Child, was an early starting point in my Lumen Print artist practice. When I look at this Lumen Print, I see a goat like figure and a playful calf nuzzling up affectionately to a protective figure, a mother to my way of looking at it; I want to see a Mother and Child, and a reach into the photograph for more imagery to complete that story. Others might see darkened outlines of familiar seaweed shapes: bladderwrack, sea lettuce and the potassium deposits made by sheets of Lamenaria left out in the rain. My early Lumen Print work was essentially creative botanical documentation. I discovered the X-Ray like marks in Lumen Prints  yield more information than in botanical drawings; these Lumen Print documents simultaneously photograph the interior and exterior of the specimen. When I freed these materials from their orthodox portraiture and used these materials in the markmaking process,  then landscapes and narratives emerged. Instead of Lamenaria and Bladderwrack resting on photosensitive surfaces for a portrait, they were telling stories.

Sea Shells and Rainwater (lumen lith printed from a handmade negative, 2010)

Sea Shells and Rainwater (lumen lith printed from a handmade negative, 2010)

Wanting to go beyond the discoveries of the botanists who were among the first to discover a photographic process for recording visual information in their notations, I turned to an exploration of the capacity of sheet film in Lumen Printing.  A 4 x 5 inch block of sheet film does not leave much space for composition, a challenge when I was composing organic material on photo paper that measured 16 x 20 inches. I was curious to find out how much detail sheet film would record for printing and projecting in large format. Sea Shells and Rainwater was my first handmade negative; I positioned a small handful of crushed seashells on sheet film and exposed it to an afternoon of hazy light. This negative was digitized and developed much the way I worked in an analogue darkroom: amplifying light and tonal values. I worked on this image until it came to life: when a pair of eyes appear and a life form took shape on a green colour field. In digital format, I am able to show X-Ray layers in much the same way they appear in analogue Lumen Prints.

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Recent Lumen Prints, both analogue and digital, tell pareidolic stories: Caribou posing for a portrait, momento mori in What Remains from gathering foliage in New York, possible life forms Among Cherry Blossoms, a portrait emerging from Chesterman Beach sea tangles. And more at Sassamatt Images.

Art Rental Show — two of my recent Lumen Prints have been added to the Cityscapes Art Rental collection and will be on show in their salon syle exhibition. Thursday, 08 January, 7 – 9 PM (Cityscapes, 355 Lonsdale, North Vancouver).

Truth and Beauty DoorCrasher Special— offers Limited Edition Prints (Desert Salt, for example), OpenStock Prints and Loose Prints at discounted prices. One week only: 10 – 17 January (Noon – 5pm), 698 West 16th Avenue. Check out the Collective collection.

Winter Salon at Photohaus Gallery — WinterSalon continues thru January. Three of my Lumen Prints are on show in this exhibition. Two of these prints are analogue lumen prints; it is an exciting opportunity because (as far as I know) I am the only artist in Greater Vancouver working in this hybrid photo-printmaking medium. Check website for hours of opening and location.

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Winter Salon 2014 opens Thursday, 27th November ( 7 – 10:30 pm) at PhotoHaus Gallery (14 West 7th Avenue) with an exciting collection of work that includes three Lumen Prints that were recently exhibited at die Bedürfnisanstalt in Hamburg Germany in September.

MisSummer Spanish Bank Impressions is my current analogue Lumen Print Series. On a parched summer day, I gathered materials from what had been deposited on the beach at high tide. In my work, I am always curious to discover what emerges from the footprints and shadows of my compositions on photosensitive materials. This summer’s pareidolic gift offered images of caribou, bears and canine forms, including one that received Honourable Mention from the Cascadia exhibition jury.

My current series of Digital Lumen Prints, Illuminations and Impressions,  are made from materials gathered from the Ocean Shores (Washington) foreshore. These images are made from handmade negatives using a Lumen Printing process and then digitized. These new plant forms have made new forms that trace the footprint and capture the shadows on photosensitive materials. Their luminescence invite the viewer to imagine motion and drama in what remains.

This Autumn’s exhibition at die Bedürfnisanstalt featured a selection of New York analogue Lumen prints that were exhibited in Tree — literal and figurative (On-Tak Gallery, Vancouver Chinese Cultural Centre) and premiered MidSummer Spanish Banks Impressions. A selection of digital Lumen Prints were previously showcased at the Chinese Cultural Centre Museum as well as new works made at Ocean Shores, Washington.

Caribou Portrait, Ocean Shores Impressions 1, Serious Caribou

Caribou Portrait, Ocean Shores Impressions 1, Serious Caribou

Winter Salon 2014 continues through December. Check hours and address at PhotoHaus Gallery’s website. http://photohausgallery.com/upcoming/

Shelter Island             Illuminations 
Edward Peck        Phyllis Schwartz 

Die Bedürfnisanstalt, Bleickenallee 26a, Hamburg 22763

Vernissage: Sa: 13.09.2014 12-17 Uhr
Öffnungszeiten
So., 14.09.2014, 14 – 18 Uhr
Mo., 15.09.2014, 16 – 20 Uhr
Sa., 20.09.2014, 14 – 18 Uhr
So., 21.09.2014, 14 – 18 Uhr
Lumen Print Workshop/Vorführung [auf Englisch]
Di., 23.09.2014, 14 – 18 Uhr
Neue Fotoarbeiten
Mi., 24.09.2014, 18 – 23 Uhr
Do., 25.09.2014, 15 – 19 Uhr
Finissage: Fr., 26.09.2014, 16 – 20 Uhr

Sassamatt presents the European premier of new work by Phyllis Schwartz and Edward Peck. These Canadian experimental visual artists work in photographic medium. Schwartz is one of the few contemporary artists making artwork using the lumen print process. These hybrid prints are made by a contact and printing process photosensitive surfaces that are digitized. Peck with multi-disciplinary background is using a multiple exposure photographic hybrid digital development process to create abstract works from concrete objects.

Sassamatt, a Canadian based artist collective, presents work by Edward Peck and Phyllis Schwartz for exhibition in Bedürfnisanstalt between 13 and 26 September. These two photo-based artists use the details located in their immediate environment as inspiration for innovative image making. Their exhibition, Sassamatt Presents, is the European premier of their latest work. The exhibition will be held in Die Bedürfnisanstalt, a unique gallery exhibition space in Hamburg’s Altona community. They will also be open for visitors to watch their work in progress. There will also be a workshop demonstration of the lumen process and both artist will be available to discuss their work and artist processes.

Edward Peck is an experimental digital photographer with multi-disciplinary background that includes painting, watercolour and printmaking. Much of his current source material is drawn from weathered and sea battered boats, some of which are in the process of returning to their elemental state, bringing the aging process of these boats to life by through an abstract exploration of form, colour and texture. His bold compositions are colour fields confidently sectored by elementary materials that are caught in the act of transformation. These transformations become abstract landscapes.

Phyllis Schwartz is an experimental photographer. Her x-ray like images penetrate the surface of her subject material and produce secondary images discovered only in the development stage of her printmaking. Plant enzymes and atmospheric conditions also interact with the surface to produce unexpected results on the surface of the paper or sheet film, leaving x-ray like marks of both their shapes and interiors. These illuminations of New York foliage and British Columbia  marine plant life hover on the cusp of abstract imagery and poetry.

Addition information on these two artists can be found on the Sassamatt Images website www.sassamatt.com .

 

Art residency season is quickly drawing to a close My artist practice is recursive. I continually spiral back to my starting points to re-think what I thought I knew, what I thought I mastered, what needs re-invention. A foundation class is an advancement class as it reinforms me about processes, practices and possibilities. My best way for me to go forward is to go back to the where it all began. 

Working  in classrooms sends me back to the beginning and  continues to add another layer to my artist practice: ideas spark when I share my ideas, techniques and suggestions. Curious minds ask provocative questions. Busy hands show me how my own practice transforms in a shared creative process. Ideas go places I never would have imagined. Exhibition and celebration brings new ideas to move forward.There’s always much to show for these joyful moments in the classroom, and I long for studio time so I can go forward with new ideas and new work.

Recently, I completed an ArtStarts residency in two ceramics classes at Kitsilano Secondary School working with Sandra Grosch. Fascinated by the alchemy of ceramics, Sandra and I designed a residency that offered students the opportunity to explore the possibilities of working with native clay, local clay excavated not far from the location of their school. In the past, I have come home from various locations with a handful of clay that I formulated into both functional and decorative object, and often I offer them to the owners of the land from which the clay was excavated — produce from a garden a few feet deeper. Working with native clay is a trial and error process, and I shared with students information about the history of pottery in British Columbia. Coastal British Columbia has a contemporary ceramics community but lacks an indigenous one. The clay that is found along the coast and up the Fraser Valley is soft and fires into a brittle form; hence, this clay requires refractory materials to be added in order to make the clay both workable and functional.

Students confronted the challenge of working with native clay by experimenting with the limits and possibilities of a material new to them and discovered ceramic forms that would keep their shape. They discovered that a traditional pinch pot had to be much thicker in order to retain its shape and that cylinder ware had to be much wetter to prevent cracking along stress lines. They were surprised that coil work was almost impossible. Once they were able to work with clay that had been formulated with materials that made the clay more plastic, they were back in their comfort zone and could apply some of their handbuilding techniques to make forms that would hold their shape. Their discoveries reflect a sense of wonder about their own community resources and curiosity about what else lies beneath the surface of the land in their locale

Currently, student samples of their first native clay exploration can be viewed at the ArtStarts Gallery  in conjunction with Timescapes — Local Connections and Natural Indicators of Time. This installation of figurative clay work made during my residency at Kitsilano Secondary School is on show through August at the ArtStarts Gallery at 808 Richards Street, open Tuesday through Saturday.

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TimeRaiser Vancouver (2014) selected Storm, one of my digital prints, for this year’s auction. TimeRaiser is an organization that promotes volunteer work by purchasing art from local artists and then offering it for auction at an event where emerging professions bid their time in exchange for artwork. While volunteer work is being completed, artwork is displayed in TimeRaiser’s office. This year TimeRaiser auctions are being simultaneously held in Vancouver, Calgary, Montreal, Regina, St. John’s and Winnipeg on Thursday, 08 April. Tickets for Vancouver’s TimeRaiser being held at Simon Fraser University (Segal  Building).

Storm

Storm

The Tree: Literal and Figurative, an exhibition curated by Alison Keenan and Phyllis Schwartz, expresses the theme of nature as experienced in forests, the built environment and as raw material for industry. The purpose of this exhibition is to show the tree as a common link in Canadian culture that provides a canopy, which spans all cultures, communities, collectives, artists, and individuals.This group exhibition presents images and impressions of the tree in a variety of media  will surely evoke myriad myths and memories about the tree. 

The artists from BestB4 Collective are graduates from Emily Carr University of Art + Design and the University of British Columbia.  The Tree is an inaugural BestB4 Collective exhibition by eight artists working in eight different media include the paintings of Alison Keenan, experimental photography by Phyllis Schwartz, drawings by Anna Ruth and Tony Chu Yin Tak, large-scale photography by Edward Peck, ceramics by Pauline Doyle, felt sculpture by Ellen Bang and installation work by Connie Sabo. The exhibition is on show at the Chinese Cultural Centre Museum in Vancouver between 11 January and 17 February 2014.  Exhibition Details. 

BestB4 Collective is a Vancouver-based collaborative artist collective established by Alison Keenan and Phyllis Schwartz. The focus of their collaboration is an ongoing inquiry into themes of the natural and built environments, the use of public space by the private individual, contemporary dance as an art form and as public performance.

The Tree exhibition includes my recent lumen prints. In the gallery is my series of analogue lumen prints made during a recent visit to New York . New York: What Remains? shows traces and shadows of early summer foliage mostly collected near the Natural History Museum and Central Park. In the showcase windows are my recent digital prints made from handmade negatives. Illuminations is a series of forest abstractions made from kelp forest debris washed ashore at Chesterman Beach and windfall gathered in my back yard after a series of winter and early spring storms.

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It’s art residency season. Working in classrooms adds another layer to my artist practice: ideas spark when I share my ideas, techniques and suggestions. Curious minds ask provocative questions. Busy hands show me how my own practice transforms in a shared creative process. Ideas go places I never would have imagined. Exhibition and celebration brings new ideas to move forward.There’s always much to show for these joyful moments in the classroom, and I long for studio time so I can go forward with new ideas and new work. 

Recently, I presented a  lumen prints workshop  at the ArtStarts Gallery  in celebration of BC Arts and Culture Week in conjunction with Botanimalogy—Expressions of Nature, an exhibition of lumen prints made during my residency at Kitsilano Secondary School. This exhibition of both analogue and digital lumen prints is on show through August at the ArtStarts Gallery at 808 Richards Street, open Tuesday through Saturday.

Check out my new work at two openings on Friday, 25 January. One of my New York street shots is in Bikes Inside, a group exhibition at Hot Art Wet City. Five of my abstracts are showing in Abstract Expressionism, a group exhibition at Photohaus Gallery.

Ninth Avenue Cyclist II is part of a series inspired by Diane Evans and Kristina Kreber; it is a photograph created across the street from B and H Photos in New York (Ninth Avenue and 34th Street). Current work showing in Abstract Expressionism is from a new series of work that continues my lumen printing experimentation; these hybrid prints made from handmade negatives on 4 x 5 sheet film that are digitized.

More exhibition and opening night details below.

Abstract Expressionism
Photohaus Gallery, 14 West 7th Avenue, Vancouver
January 25 – 14 February
Opening: 25 January, 7 – 10 pm
Gallery catalogue available
http://photohausgallery.com
Bikes Inside
Hot Art Wet City Pop Up Gallery, 752 East Broadway, Vancouver
25 January – 13 February
Opening: 25 January, 7 – 11 pm
http://hotartwetcity.com/bikes-inside/

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Learn more about Sassamatt Images http://about.me/phyllisSchwartz

And, if you are at the  Queen Elizabeth Theatre before 18 February 2013, check out In Camera: the working dancer, an exhibition of my photographs and Alison Keenan’s paintings, a body of work made in cooperation with Ballet BC. It is showing in the Mezzanine Gallery and my ceramic sculptures on the top floor. Let me know what you think.

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