Posts tagged Printmaking
Spotlight: Stencil Exhibition at Hashimoto Contemporary


April 6th - April 27th, 2019

NEW YORK CITY - Hashimoto Contemporary is pleased to present Spotlight: Stencil, a group exhibition surveying contemporary stencil art. The exhibition features an international roster of artists who push the boundaries of the medium both inside and outside the studio.

Eelus is a UK based mural artist and screen printer. An early member of the street-art bastion Pictures on Walls, Eelus is a contemporary of Banksy, Shepard Fairey, Hush, and many more working in stencils.

Jana & JS are an Austro-French duo whose work merge their shared passion for photography and urban environments. Inspired by the city, its architecture and inhabitants, their work focuses on urban landscapes, portraits and details of architecture.

Joe Lurato,

Joe Lurato,

Joe Iurato is a multidisciplinary artist whose works are built on a foundation of stencils and aerosol. Falling somewhere in between simplistic and photorealistic, his multi-layer stencils offer a distinctly clean and illustrative aesthetic.

Mando Marie

Mando Marie

Mando Marie is known for her graphic work, which uses images of tales and repetition of motifs to inform the compositions of her paintings. Her works play with elements of both the spooky and nostalgia.

OakOak is an anonymous artist who transforms everyday objects, utilizing them for his cleverly placed imagery, creating works that are a combination of humor and urban poetry.

Oak Oak

Oak Oak

Penny finds inspiration in everyday objects and often overlooked ephemera, but currency is the most prominent recurring theme in his work. He has received global critical acclaim for his hand cut, extremely detailed stencil work.

This exhibition will be on view through Saturday, April 27th. A limited edition 7-layer screen print titled Red Dress by Eelus is scheduled to be released in conjunction with the exhibition and will be available in person at the opening. For more information, additional images, or exclusive content, please email

Erin Holscher Almazan

Erin Holscher Almazan is an Associate Professor of Printmaking and Drawing at the University of Dayton in Dayton, OH.  Erin is a native of North Dakota. She received her BFA in Fine Arts from Minnesota State University Moorhead and her MFA in Printmaking from Rochester Institute of Technology, in Rochester, New York. She has completed two printmaking residencies at the Frans Masereel Centrum in Kasterlee, Belgium. Erin’s work has been exhibited nationally and internationally and has been included in exhibitions in connection with the Southern Graphics Printmaking Council and the Mid-America Print Council. Erin is also an active member of the Dayton art and printmaking community.  She resides in Dayton with her husband and two sons. 


My work is a direct and emotional response to identity; I am continually fascinated and perplexed by my roles and relationships. Through my work, I reflect on a malleable identity shaped not only by our own shifting environments, but also by nature, nurture, inheritance, and history. I draw, print and paint to fluidly move with and investigate form and edge and to achieve a range of gestural lines and marks. I strive to communicate acceptance, ambivalence, struggle, empathy, and connectivity, and to convey the duality embedded within our identity.

Stories of Love and Loss: Interview with Nanci Hersh
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The overarching theme of my work is a personal narrative about home and family. Stories of love and loss; both letting go and losing, are interwoven and explored with mixed media. This newest body of work is a return to printmaking as a centering prayer and meditation on process. Lines, fragmented patterns and assorted textures are part of my visual vocabulary to honor the ephemeral and make space for the tangible and intangible to coexist. 

Nanci is a professional mixed media artist, illustrator, educator, arts advocate and administrator as Executive Director of the Delaware Institute for the Arts in Education. 

Her work has been exhibited throughout the United States including “Eons Beyond the Rib,” at Seraphin Gallery in Philadelphia, PA, “Navigation Puzzle,” at the Delaware Center for the Contemporary Arts, “Paper Work”, at the Trenton City Museum at Ellarslie and “The Demoiselles Revisited” at Francis M. Naumann Fine Art, NYC, along with solo exhibitions in PA, NJ, DE, and Hawaii. Nanci has received numerous honors including three purchase awards from the State Foundation of Culture and the Arts, Hawaii and three Leeway Foundation Art & Change Grants. Her work is included in the Public Collections of Johnson & Johnson, Herspace Breast Imaging, Leland Portland Cement, and OSI Pharmaceuticals to name a few

With her cousin and author, Ellen McVicker, Nanci illustrated and co-created the children’s book Butterfly Kisses and Wishes on Wings: When someone you love has cancer… a hopeful, helpful book for kids. Having sold over 10,000 copies in English and now with a Spanish edition, Nanci and Ellen were invited in 2015 to participate in 798 ICAF, International Children’s Art Festival in Beijing, China in 2016.

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Initially, my work was influenced by the tropical beauty of the landscape, but I began to find my voice as an artist as the work became more personal.
— Nanci Hersh
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In your artist statement, you reflect on the idea that your work is a personal narrative about home and family. Can you tell us about your experience creating work that is so deeply personal?

From my first pale pink padded diary at age 11, complete with lock and key, to my current expressive mixed media paintings, collages and sculptures, my compulsion has been to chronicle, gain understanding and find the magic and connection in the everyday.

In 1985, I moved to Hawaii, far from family and friends on the East Coast. What was to be a six-week vacation led to a 12-year journey of living the dream; making art, surfing, managing an art gallery, studying, teaching and traveling. Initially, my work was influenced by the tropical beauty of the landscape, but I began to find my voice as an artist as the work became more personal. Through subsequent series that both examined and celebrated relationships at home and in my rural plantation neighborhood on the North Shore of Oahu, I began to feel a deep connection to the people, the place, and my work that felt more authentic. It also became cathartic and healing in many ways.

What are you currently working on?

I am working on a new series of monotypes and mixed media prints. This is a return to my undergraduate and graduate work in printmaking. Following the passing this summer of my mother, I am finding comfort in the rituals and process of working with a limited palette, my love of an expressive line and layered textures. Primarily black and white, with limited color, some encaustic and collage, they are a meditation on the transitory nature of life and death and the fine line between the two states of being.


How has your creative process changed throughout your career?

It has evolved more than changed. A new series seems to dictate a particular medium or material that I am either practiced in or need to learn. For example, years ago, I had a dream about butterfly nets. Shortly after, I came upon some children’s butterfly nets at a gift shop at the beach which I purchased and began to manipulate by dipping them in the overly beaten paper pulp that dried like a skin, freezing them in time. This led to creating my own net forms from chicken wire, pulp, encaustic, pantyhose, and collage. Then I began finding and collecting different types of nets and netting which I use as stencils on my paintings and drawings. Often I circle back and incorporate elements of a prior series. The process builds upon itself more than changes.

What is your favorite part about creating mixed media works?

I love discovering found or repurposed objects or materials, seeing beauty in the juxtaposition of the elements and the surprises in how they speak to each other. I have always found peace walking along the beach and appreciate the flotsam and jetsam that wash ashore entangled, each part originating from somewhere else with a different unknown history coming together and shaped by the journey it has taken.

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What do you view as your greatest strength as an artist?

One of my greatest strengths as an artist is my perseverance. I keep making art, through raising my family, teaching, well-being or challenges, sales or not, recognition or not, just keep making it because it is who I am and how I find a deeper connection to nature, to others, to myself and a Higher Power. I also appreciate how I am able to see beauty and possibility in everything- and everyone.

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Along with your two-dimensional mixed media work you create three-dimensional sculptures, how does your studio practice accommodate both mediums?

The work informs each other. It is an ongoing conversation. There are times when what I need to explore is two-dimensional, other times it is three dimensional. This can be determined by a subject, a found object, a dream, a beautiful vine found on my walks with my dogs, or a cast shadow. Most often, there is a piece of one in the other or one is the jumping off point for the other. It is a fluid process that meanders with intention, to see how I can look at something in a new way and see where that takes me.

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What has been the best part of your artistic career thus far?

It has to be now. I am able to look at the scope of the work that I have created and see how the work has been an expression and an extension of my life experiences. I also appreciate how the work has led me to people, to conversations and experiences that deepen our connection and appreciation of the richness of this life.

Jimmy Viera

I am a painter and printmaker currently living and working in Portland, Maine. For years now in my art practice I have been both interested in gesture and object and the relationship they share spatially in my work. Most of my curiosity with gesture and mark making comes from the pleasure of very quickly creating something that resonates with you and wanting to preserve it. This idea of elongating a quick moment in time is carried into the physical process of painting as well. The shape or mark is made, then re-drawn on the masking, and finally the masking is cut. These steps make for a careful examination of why this particular moment is so enticing, this allows for more time with each shape rather than just attempting to create a mark directly on the support. 

The paintings serve as faux spaces in which gestures and shapes sit on the panels the way ephemera, imbued with fond memories, sit in people’s homes. Looking through my sketchbooks for the right gestures, I act as a collector adding items to shelf. Both the collector and I layer items from different times and places. By taking a wobbly line I made today and placing it in a painting with a cylindrical shape I made three months ago, I am able to collage my gestures into a piece with more history than if I had been just painting intuitively. 

Ewelina Skowronska

Ewelina Skowronska is a visual artist and printmaker, who was born in Poland and currently lives and works between London and Tokyo. After having an accomplished career in advertising, Ewelina decided to fully dedicate herself to art in 2013. She retrained and specialised in visual arts at University of The Arts London where she graduated with distinction in 2015. Ewelina’s work continues to explore the interplay between colour, shape, perspective and pattern. Her work is usually between the abstract and the figurative.

Ewelina's work has been exhibited in London, Ireland, Poland and Tokyo. In 2017, she was awarded with Print Prize by ST Bridge Foundation;. her prints are in the collection of VA Museum London; she was shortlisted for RA Summer Show 2017, and for the Ashurst Emerging Artist Prize 2018.


My interest lies in developing a contemporary dialogue between form and colour, art, illustration, and graphic arts. It means carrying on the tradition of the post-modern, while re-thinking my own approach and aesthetics to it. Recently, I am very much interested in the human perception, its particularities, and the subjective burden associated with it. For me the act of perceiving always implies creating. 

I use mostly screen-printing as a medium. I am fascinated about ways of pushing its boundaries, wondering how the process of mark making together with all limitations can influence the artwork and at the end tell the story. With strong design and illustration background, my art practice focused on a strong sense of colour play and form, exploring the line between the abstract and the figurative. I am inspired by everyday human experiences and the fluidity and movement of the human body.  

As I am currently based in Japan, I see how its culture influences my work, bringing new ideas, ways of seeing, as well as new skills, like ceramic practise. 

Ravi Zupa : “Riches”

SAN FRANCISCO - Hashimoto Contemporary is pleased to present Riches, a highly anticipated solo exhibition of new works by Colorado-based artist Ravi Zupa.

Drawing inspiration from from printmakers of the German Renaissance like Hans Holbein and Albrecht Durer, Riches is at once a celebration of and departure from classical painting and printmaking techniques. In his signature style, Zupa combines Eastern and Western religious imagery to create a unique universe of historic characters and anthropomorphic creatures.

Taking cues from Renaissance portraiture and Eastern iconography, Zupa creates a personal mythology which straddles cultures. Much of the work composing Riches features small, often enigmatic scenes that highlight a need, motivation or aspect of modern life. These scenes are described by the iconic bird-pot characters lifted from the odd, surreal works of Hieronymus Bosch and Bruegel the Elder.

Please join us for Riches, opening Saturday, August 4 with an evening reception from 6pm - 10pm. The exhibition will be on view until Saturday, August 25. For more information, additional images, or exclusive content, please email us at

804 Sutter Street, San Francisco, CA 94109 • • 415.655.9265


Hashimoto Contemporary is located in San Francisco, CA. Our roster consists of an eclectic blend of new contemporary artists. With monthly rotating exhibitions, our programming focuses on a range of painting, sculpture and installation-based work. You can also visit us at a variety of international art fairs in Miami, New York, San Francisco and Los Angeles.


Ravi Zupa is a self-taught, multidisciplinary artist. He has worked as teacher, animator and music- video director. His work has been exhibited internationally in galleries and art fairs, including at Shepard Fairey’s Subliminal Projects in Los Angeles and at Lazarides in the United Kingdom.

Brooke Sauer

Regardless of what medium I employ, my work celebrates my love and awe of nature. In my newest series of cyanotypes I combine my background in painting with my love of photography and botany as I explore a sense of place and observe how native and non native species of flora and fauna in various environments co-exist with one another. In a large collection of collages entitled, In Search of Treasure, I explore our human relationship to landscape using mineral specimens as terrain to be investigated, traversed, enjoyed, and to inspire feelings of awe through surrealist moments that encourage the viewer to derive their own narrative, and place themselves in the tiny landscape that they see before them.

I have exhibited with spaces such as LA Louver, the UCLA Hammer museum, Los Angeles Contemporary Exhibitions, and the Los Angeles Freewaves Festival. I have been published in print and online in a variety of publications. Previously working as part of the collaborative duo, B&T, for over a decade, I have returned to my solo practice in painting, printmaking, photography, and collage. Thank you for taking the time to view my work.

Reconstructing Experiences: Interview with Lisa Wicka

Lisa Wicka received her BFA from the University of Central Florida, and MFA from Purdue University. Her work has shown both national and internationally in solo and group exhibitions, and is in many public and private collections. She actively participates in artist residencies around the world including Sparkbox Studios (Canada), Ålgården Workshop (Sweden) and Officina Stamperia del Notaio (Sicily). Her experiences traveling and living throughout the US have greatly inspired her practice. Wicka currently resides in Marinette, WI where she is the Assistant professor of Art at the UW Colleges. 


We live in the spaces... 

between past and present, 

between empty and occupied, 

between mind and body, 

between physical and virtual, 

between tangible and lost, 

between loneliness and love, 

between exposed and hidden. 

Through the breakdown and rebuilding of the in-between, my work mimics the everyday navigation of these realms. Temporary moments of clarity come together and fall apart, creating a self in motion, evolving through experience, place, failures and successes. My work is a surface where this dialogue becomes visible explorations of my surroundings and my identity, a surrogate self with limitless possibilities. 

Often referencing architectural spaces, wallpapers, and raw materials, my work brings into question the solidity and accuracy of things we hold true. Printmaking, drawing, and mixed media methods allow me to acknowledge my experiences, dissect them, and reconstruct them into something concrete, if only for a moment. 


Interview by Sarah Mills

What are you currently working on? 

I am currently working on a new series of work Along the Way while continuing to work on my series, Focus. Along the Way is made up of fragments that incorporate patterns, textures, and in most cases, some little legs interacting with the construction. Focus is a series I started a few years ago, where I build miniature abstracted domestic spaces and photograph them in various locations. These photos then become a part of an interactive piece that invites the viewer to have their own intimate experience. (See short video clip.)


What is the inspiration behind your current series? 

In my artist statement, I talk about my work as a surface where the dialogue between my surroundings and myself can take place, as if a surrogate form. With this new work, I am reflecting on transitional spaces, and how one functions in them. These spaces are in-betweens, such as trains, cars, etc… but I also draw connections to the space that exists on our digital platforms. Both types of space feel heavy and physical; they take up space and time and are often occupied, but at the same time can be lonely. This new series is about existing within them, recognizing their rules and limitations, and finding yourself (even if only temporarily) in those moments. A number of things have brought me to this series, but primarily it stems from my last three years in a fairly remote location in the Midwest. This being my first location post grad school, I went from having a network of artists, friends, and resources within my reach to having a lot of physical distance from these things. I am learning to rely more on communications online, staying up-to-date through Facebook, and other resources, and traveling whenever I can. This means that I am mostly isolated, with bursts of New York, Philadelphia, or Chicago, where I try to soak up as much of my surroundings as much as possible, as if I could store it like a camel. This approach has given me the time to reflect on both ends of this experience and evaluate this balance that we all try to create in one way or another.


Tell us about your process when you start a new piece. 

At this point, very rarely am I starting a piece totally from scratch; I have built up a large collection of screen printed patterns, monoprints, drawings, wood shapes, etc. and they often make their way into my work. The patterns I create are often reflections of past experiences or are reminiscent of an existing pattern from my everyday. I work like a collage artist, so for the most part when I am drawing or printing my patterns, I am creating flat sheets that will be cut up, folded, layered along the way. My sketchbook is filled with shapes and notes more than anything, and I can pretty confidently say I never know what the piece is really going to look like when I start it. I have found this way of working allows the more controlling side of me to have a say in the creation of the individual collage pieces, then I rely on experimentation and instinct when I start to combine things together. I intentionally make room for happy accidents, which sounds strange, but that is the place where the good stuff happens.


In your artist statement you talk a lot about how your surroundings and identity influence your work. Can you talk about some of the biggest influences in your life?

I think moving around and traveling has had such an impact on my work and my life. I have experienced small towns, big cities, and some in-between, and finding who I am in those places has challenged me to questions what is important to me: what to keep, and what to let go. For me, embracing the uncomfortable has offered me the opportunity to try new things, meet new people, sometimes fail, but learn more about myself along the way. I can see the fluidity in which I change from place to place, recognizing changes in career, age, and priorities. But each location also offers me the opportunity to try something new. This playfulness allows me to find new parts of myself and has become a very important part of my process. I work hard to keep embracing the uncomfortable in my practice; it is where I am the most vulnerable and honest.


What advice would you give to artists looking to find their voice and technique? How did it happen for you? 

That is a big question! I think my suggestion would be to experiment and do what keeps you engaged. It took me a lot of work, writing, reflecting, and bad art to really start to feel solid about what I was doing. I thought for a long time that once I “figured it out” then I would be stuck in it, which scared me a little. For me, I have found a way of working that lets me move, experiment, twist and turn, while still staying true to what is important to me. Once I got to that point, I felt so much better because at the end of the day, if you are not interested in what you are doing, why would anyone else be? My way of working constantly gives me to new problems to solve, and I enjoy figuring them out.


You work in multiple different mediums, is there a medium you are most drawn to? Why?

 Printmaking plays a large role in my work by allowing me to create multiple versions of the same image. I enjoy the spontaneity that arises through the print process. I can change colors, use painterly approaches and embrace the unexpected results that will later often get cut up, and mix and match with other images and materials. Outside of the process of printmaking, I enjoy working with materials that have a physicality to them and they often include some sort of building materials such as wood, house paint, or enamel, mixed with delicate materials, such as paper, gold leaf, wax, etc. The combination of these materials can feel solid and temporary at the same time. It is important to me that my work feels as if it is in motion, possibly coming together, or falling apart, and my choice of materials help to reinforce this concept.


Because you use many different mediums, your series are all pretty unique. Is there one body of work that you are the most fond of? Why? 

This is a complicated question. Although some series may look unique, they are very closely related. Some are a response to a particular time or location, while an ongoing series can show the growth within a particular idea. I can appreciate both ways of working; I do feel I need to have some more spontaneous work along with the controlled because they reinforce each other. An example of this would be In-between series, which was made during the time I began the Focus series. Although this work does not look too similar, In-between allowed me to explore shape and space in a way that can be seen in the Focus series. There are also some repeated patterns between the two.

Clare Szydlowski

My work in silkscreen printmaking is concerned with the ways in which industrial processes, theories, and terminology have shaped the North American landscape: both the physical world and the collective imagination.

Visually I am drawn to spaces that expose American dreams, desires, and hopes: industrial ruins, oversize discount stores, suburban developments, and freeways—the hinterlands of American life. By rearranging and isolating these pervasive and seemly mundane images, I allow the viewer to question their assumptions about familiar spaces and recognize the strangeness of a landscape characterized by industrial dreams and boundless resources. 

This series of silkscreen prints were printed by hand using the CMYK process printing method where 4 layers—cyan, magenta, yellow, and black—on a single page create a full range of colors. The imagery is a digital collage of photos from a "zombie subdivision," a suburban development that was never completed because of the economic crisis of the late 2000s and images of Death Valley. I'm interested in dichotomies of environmental control and chaos, how our manipulation of the environment is at once hugely impactful and insignificant when faced with of the forces of nature. 

Clare Szydlowski was born in Buffalo, New York. As a teen, Clare moved to Orange County, California with her family. In 2006, she graduated from UC Santa Cruz with a BA in Art with a focus in Printmaking. In 2009, she graduated from SF State University with an MFA in Printmaking. She currently lives in the San Francisco Bay Area and makes her work at Graphic Arts Workshop in San Francisco, writes for the quarterly art magazine, Venison Magazine, and teaches art full time at a Bay Area public high school.

True Expression: Interview With Yuko Kyutoku

My life’s passion is creating visual art. Specifically, I love printmaking, painting, and drawing. 

Printmaking allows me to combine many techniques with many mediums, such as watercolor, acrylic, charcoal, ink, and colored pencil. In addition to printmaking, I also enjoy painting. I have used acrylic, watercolor and soft pastel. I have been able to explore painting people and landscapes in these mediums. In addition to these traditional subject matters, I also enjoy creating abstract pieces. My third interest is drawing with pencil and charcoal. I thoroughly enjoy that I can erase and create depth with charcoal and pencil. Regardless of the medium, my work is incredibly detailed and passionate. Each piece has a clear message. My artwork reflects my universe: hardships, sufferings, hopes and dreams. 

As a child, I read many classic books and cartoon magazines. I also watched many movies and listened to many kinds of great music. I was always fascinated by these masterpieces. I found these classic masterpieces opened my mind. I could think and dream about many things. The way I produce my art is by taking other art forms, such as books, music, and movies, and convert them to my prints, paintings, and drawings. I carry a sketchbook with me, so I can put ideas on paper anytime. Then, when the time is right, I can sit down with a piece of charcoal or a paintbrush and express myself. My artwork is a reflection of my universe as I’ve experienced it through others’ art. It flows from my experiences in the world into my life and then onto the paper. 

My path that led me to artistic expression has been transformational. It used to be difficult for me to show my opinions, beliefs, and my thoughts. What I came to realize, though, was that I could express myself very effectively through my art. I came to New York to pursue my passion for art. Originally, I did not have confidence in myself, but I found that I had a gift for art and am able to offer hope to others through my work. 

Ten years from now, I see myself creating art that opens people’s minds to something positive in life. I would like to create the kind of art that will stay in people’s heart and heal people’s suffering. I believe there is no barrier in the world of art. Great artwork transcends language and cultural barriers. Through my art, I want to improve the lives of others. I want to create the kind of artwork that gives hope. To me, the purpose of my art is to make people feel something deeper, just like I felt from the masterpieces that transformed my life.


Briefly describe your creative journey. When did you gain an interest in visual art?

Since I was young, I  have always been fascinated by art of all kinds like Japanese cartoons, anime, movies, music, and books. I suffered from depression, anorexia,   and bullying when I was in elementary school. These difficult experiences brought me closer to the spiritual world. I always daydreamed of traveling to another world which I created and I also sometimes painted the world onto papers, which still influences me today. Those experiences, although negative, were formative, and led me to realize that “life is only one time. and follow my heart to live without regret” At the age of twenty years old, I volunteered in Mother Teresa’s Church in India, Cambodia, and Bangladesh, and visited  London to attend a language school for 8 months. During my stay in London, I visited museums and saw great masterpieces. I traveled to some European countries and visited local galleries and museums, all of which transported me back to my childhood when I dreamed of becoming an artist. 

After my travels, I officially decided to pursue art and left for the United States in 2013 to do so.


What is your work about? What are some themes and subjects you love to explore?  

The central theme of my work focuses on the treasures, moments of an impression  in everyday life. Every country or city that I visit inspires me, especially  New York City. and music, movies, poetry, and Japanese literature all contain a wealth of influences. I am especially influenced by Elvis Presley, Carpenters, and Japanese pop music.”

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Describe your creative process. Where do the references for your works come from? 

I was born in Gifu in 1991 and raised in Aichi, Japan. I lived in nature and traditional, historical places. When I was younger,  I read many classic books and cartoon magazines. I also listened to many kinds of great music and watched many movies. These classic masterpieces are major impacts on me (again, be more specific; give actual titles for books and films, otherwise it seems like you’re lying. 


How do you balance studio time with other life responsibilities?

It is very important for me to secure the time in the studio. Creating art is the most important thing in life for me, and everything else is secondary. I focus on concentrating things to do as smoothly as possible every day and trying to secure the time of the studio during the daytime, especially during the night when I become productive.


You work in several different mediums. How do they relate to each other or do you keep each one separate? 

I make works using various materials, but they are all connected by the same theme of treasures within the everyday.


Share a favorite quote or piece of advice. 
If you're born without wings, don't do anything to stop them growing.- Coco Chanel
My art must be devoted to improving the fate of the poor people. - Beethoven


What are you currently working on? 

I am currently working on silkscreen based paintings and creating a series of works on the ancient Greek and Roman sections of the Metropolitan Museum of Art.

Top 10 Highlights at the Chicago Art Book Fair 2017

During November 16-19, Chicago hosted its first annual Chicago Art Book Fair, featuring over 100 independent publishers, small presses, comic and zine-makers, printmakers, and more. Taking over two floors of the stunning Chicago Athletic Association Hotel, the amount of incredibly unique and innovative artists and publishers kept the crowd buzzing with eager curiosity and excitement, while not being too overwhelming. Its a chance to meet individual illustrators and artists as well as small printing presses that publish everything from short story collections to risograph printed zines. Not just from Chicago, this international book fair had an endless amount of talent, making the top 10 highlights difficult to narrow down. Take a look at these 10 amazing artists and publishers who’s work blew the crowd away!

1. Cold Cube Press / Mount Analogue

Cold Cube Press is a printing service based in Seattle, Washington that prints using a risograph process, which is a process similar to a silkscreen as it prints one color at a time, making their book Cold Cube 003 (featured above) even more impressive! It features the artwork of over 30 artists and poets. Sharing the booth with Cold Cube are their neighbors and collaborators, Mount Analogue. Mount Analogue has their hands in so many amazing projects, as they are a interdisciplinary publishing studio, installation gallery, small press book shop while also hosting community events.

2. Extra Vitamins

Extra Vitamins is the multi-disciplinary creative studio of Julia Belamarich and Kyle Garfield that emphasizes the intersection of art and design. They produce unique and playfully designed apparell, tote bags, illustrated books, zines, and more.

3. Pegacorn Press

Pegacorn Press is a queer and feminist project ran by artist Caroline Paquita based in Brooklyn, New York. They publish and produce zines, comics, and other print ephemera along with patches and even plush dolls.  Much of the work produced is a collaboration between Paquita herself and other artists.

4. Marnie Galloway

Marnie Galloway is a cartoonist and illustrator hailing from Chicago, who works primarily in fiction and poetic comics. Her work In the Sounds and Seas, which was featured at the fair, is an intricate and striking, black and white, wordless graphic novel. 

5. The Bettys

The Bettys is an art collective that produces and publishes zines and curates events in and around New York City. Their work primarily focus on supporting women, people of color, and LBTQ communities. Other products produced by the collective include catchy and powerful pins and stickers.

6. Chloe Perkis

Chloe Perkis is a Chicago-based artist who creates risograph prints, comics, zines, and pins that often feature a strong female presence. On top of creating her own printed ephemera, she has also curates exhibitions. One of which, a show titled Sucias, had a unique zine printed in conjunction with the exhibition that was available at Perkis' booth. 

7. Authorized to Work in the U.S.

Authorized to Work in the U.S. is a multi-disciplinary project run by artist and publisher Cem Kocyildrim. The artist sells his incredible work on a mobile art gallery, the "Riso Bike," which he peddles around NYC. Kocyildrim's personal work shines light on issues surrounding immigrant life and the U.S.

8. Floss Editions

Floss Editions is a small printing press that publishes books, zines, and apparel of amazing quality, with brilliantly bold colors, that feature a variety of talented artists. They are based out of Oakland, California, but publish work by artists all over the US.

9. Perfectly Acceptable

Perfectly Acceptable Press is a publishing house and risograph printing studio, located in the fair's host city of Chicago. They publish small edition zines, comics, and other art books, with their content and aesthetic being incredibly diverse. 

10 Jamiyla Lowe

Jamiyla Lowe is an artist and illustrator based out of Toronto, whose quality work can be described as fantastical and mystical. Her impressively rendered creations can be found in the form of limited edition prints, wall hangings, tote bags, and t-shirts.


Featured image courtesy of Mount Analogue/Cold Cube Press

SERIGRAPH at Spoke Art

Spoke Art is proud to present SERIGRAPH - a dynamic group exhibition celebrating screen printing and analog printmaking as both a medium and a process. This comprehensive survey includes artists from a wide variety of genres, backgrounds and styles.

Each artist brings their unique experience in screen printing from their broad ranging experience in the worlds of gig/rock posters, movie and film work, street art, fashion and beyond. Working with single and multicolor screen prints, each artist has created a new limited edition pushing and melding the boundary of the analog print process.

Typically working with art directors and clients for commercial and licensed projects, SERIGRAPH allows this curated artist list a creative freedom not commonly found in their day to day work. Allowing for an exploration of artistic practice in a completely restriction-free space has resulted in stunning array of works within the medium.

Please join us for the SERIGRAPH opening Thursday, November 30th, with an opening night reception from 6pm-9pm. Prints will be available on a first come, first served basis and some artists will be in attendance. The exhibition will be on view through Friday, December 22nd, 2017.

Participating Artists:

Florian Bertmer, Bungaloo, Burlesque Design, Sam Wolfe Connelly, Rhys Cooper, Craig Drake, Matt Dye, Jeremy Fish, Jayde Fish, Icy & Sot, Nikita Kaun, Landland, Aj Masthay, David Moscati, Prefab77, Jermaine Rogers, Justin Santora, Snik, Chuck Sperry, Marq Spusta, Matt Taylor, Jeff Wood and Zoltron

Amze Emmons

Amze Emmons is a Philadelphia-based, multi-disciplinary artist with a background in drawing and printmaking. His images evoke a sense of magical/minimal realism inspired by architectural illustration, comic books, cartoon language, information graphics, news footage, consumer packaging, and instruction manuals.

Emmons received a BFA from Ohio Wesleyan University and a MA and MFA from the University of Iowa. He has held solo exhibitions in, Boston, Chicago, Philadelphia, and San Francisco, among other locations. His work has been included in group exhibitions in innovative commercial galleries, artist-run spaces, and museums. Emmons has received numerous awards including a Fellowship in the Arts from the Independence Foundation; an Individual Creative Artist Fellowship from the Pennsylvania Arts Council; and a Fellowship at the MacDowell Colony. His work has received critical attention in Art in Print magazine, The Philadelphia InquirerItsnicethat.comCoolhunting.comNew American Paintings, as well as many other publications. He is currently an Associate Professor at Tyler School of Art at Temple University in Philadelphia. Emmons is also a co-founder of the popular art group,

Kate Banazi

Kate Banazi was born in London and studied at Central St Martins. She currently lives in Sydney, Australia.

Concentrating on the art of silk screen printing, she has worked from art based practice through to fashion, music, illustration and advertising. Her work is experimental, intuitive and often playful, with bold colour and graphic elements a key reference. Science, space travel and colour theory hold great interest and are often referenced in her work.

She celebrates the subtle variations of serigraph printing, exploring the layering of colour and graphic elements alongside linear grid structures and hand drawn forms.

Her current work celebrates relationships, identity, movement, shadows and colour, interlocking shapes held together lightly but ready to fall apart. Negative space and line work map chaos, voids and then beauty - a reflection of every day life in all its unpredictable glory.  By exploring the ideas of embracing the flaws in the screen - the silkscreens are un-retouched, pinholes and marks which normally would be repaired, are accepted and celebrated, contrary to the idea of silkscreen printing as a facsimile process.

Kates' work is hand printed by her, in Sydney.

She has exhibited in group and solo shows Internationally and her work is collected and commissioned by private, public and corporate clients.

From Internet to Paper: Printing With Vincent Hulme

Via Art Connect

A snow man is breathing glitch fire next to a naked couple having an intimate moment in bed; there are flowers everywhere. Pink letters are forming the words “I loved you for too long” above them. Artist Vincent Hulme’s Tumblr feed is as ironic as it is aesthetically pleasing; it’s also his biggest source of inspiration. His contemporary style can easily be recognised in the feed. He’s a lithographer, serigrapher, writer and performer or as he explains on his website: He’s doing his best to spread the word of Vince.

Vincent lets us into his apartment with a shy smile; it’s a Monday morning and we’re all tired. The colours of his prints, hanging in his room, immediately energises us though. They are perfectly printed in purple and green. When making a print the first step for Vincent is always to create a prototype by playing around with different images, colours or shapes in Photoshop. The printing can finally begin after he’d gotten it back as an offset plate from the plate maker. “I always go back to printing. That’s the one thing I do recurrently”, he explains.

Before moving to Berlin six years ago Vincent was studying Fine Arts at Concordia in Montreal, specialising in screen printing. Now he spends his days working as an art teacher, scrolling Tumblr for inspiration and practicing his own art. Which means, spending a lot of time by the offset printing press in his studio.