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Carol Wax. Telefon. Mezzotint, 1995. 23-3/4 x 15-3/4 inches.
Posted October 18th, 2008 by Antique Print Department under Gallery
Contemporary printmaker Eunice Kim has completed her Residency at the Frans Masereel Center in Kasterlee, Belgium, where she spent three weeks working on a special suite of prints based on Taoist principles of the Five Elements.
Eunice pulling a print from her new series.
During my residency at the Frans Masereel Center, I completed a project inspired by a philosophy that has long held my interest. Five Elements is based on Taoist teaching that all things are composed of five basic substances: wood, fire, earth, metal, and water. The study of Five Elements describes dynamic relationships of change, interdependence, and balance between these elements and as each element is representative of a stage in a cyclical process, the theory is also often known as “Five Transformations” or “Five Phases.” While each element is associated with a number of different characteristics, I chose to focus on and explore the property of movement for the following suite of prints. -Eunice Kim
Kim will exhibit new work with Davidson Galleries in April 2009.
Jurors: Shelly Bancroft and Peter Nesbett, Publishers of Art on Paper magazine and founders of Triple Candie
The competition is open to all artists. All forms and variations of printmaking are acceptable including digital art, mixed-media and artists’ books.
AWARDS + PRIZES
• Purchase award for The Print Center Permanent Collection at the Philadelphia Museum of Art.
• Up to $2,500 in cash, material and purchase awards selected by the juror and individual donors.
• A solo exhibition at The Print Center may be awarded by The Print Center’s Curator.
• A two-year contract may be awarded from The Print Center Gallery Store.
Postmarked Deadline: November 14, 2008 Entry Fee: Free for Current Members, $40 for Non-Members
Etsuko Ichikawa was featured in the Arts section of the Seattle Times this weekend:
Ichikawa’s glasswork — honed through years of study, including summer sessions at Pilchuck Glass School — is unique to the Northwest. Serpentine chandeliers and neon vases they are not. Her “pyrographs,” as she calls them, are made by painting with the fire and smoke of hot glass.
For years she’s been interested in “ephemeral” and “eternal” natures, a theme that continues in “Traces of the Molten State,” two site-specific installations at the Bellevue Arts Museum. Curated by Stefano Catalani for the Material Evidence series, it follows equally stunning exhibits by sculptor John Grade and multimedia artist Mandy Greer.
“I really wanted to create something about experiencing a space — to spend time looking and thinking,” says Ichikawa of “Traces.” Unlike recent shows at Davidson Contemporary and Gallery4Culture, the BAM assignment offered the artist unique challenges.
“Usually I start work and have the materials and elements around me and change as I go, and evolve in many different ways. This time I needed to stay in the concept I proposed, so there was a little struggle there,” she says, while clearly relishing it. Creating such a large-scale and time-consuming exhibit means that these days, Ichikawa hardly has any off hours.
“Traces’ ” first installation, shown in the Forum (BAM’s interior atrium), will feature a triptych of pyrography scrolls, 26 feet long and 4 and-a-half feet wide. A video showing “layers and layers of moments from my work process,” says Ichikawa, will be projected onto them. The second, “Walk with Mist,” inhabits the Pilchuck Glass School Gallery as an exercise in atmosphere.
Perforated metal sheets hide a video projector, which shines onto hundreds of glass “bubbles” hanging inches from the floor. A curved wall of pyrographs will surround the sculpture, backlit as though from a dull candlelight. “I’m hoping that it’s going to be very intimate,” says Ichikawa.
Seattle P-I art critic Regina Hackett reviewed Davidson Galleries artist John Grade‘s Bellevue Art Museum show Disintegration, Sculpture Through Landscape:
Grade celebrates the natural world: the slime of bogs and the slow grind of glaciers, what tides leave behind. … There are moments … that dazzle in their cobwebby splendor, sheets of laced or bubbled goo that look as if they’re growing.
When I think of the origin of life itself, I think of Grade, his sculptures bubbling away in bacterial seas, swept to shore and drying in sheets draped on rocks. The first crabs could have scuttled there, greeted by ancient fish that unhooked their jaws to drag them down.
Grade’s BAM exhibit continues through November 29, 2008; he will exhibit at Davidson Galleries in May 2009.