ARTIST STATEMENT: Printmaking
Printmaking has always been a democratic medium. Prints and posters were one of the earliest forms of mass communication, and posters still have the power to communicate instant messages, with-or-without text.
Part of what first attracted me to printmaking was the immediacy (and the physicality) of the relief process. There is something almost sculptural about the hard edges and bold lines of traditional black-and-white woodcuts.
PRINTMAKING TUTORIAL: Printmaking Process: Relief Printing 101
An illustrated “how-to” guide to block printing.
- See how a linocut is made, from start-to-finish.
NO ‘LIMITED EDITIONS’ of RELIEF PRINTS
I do not do “editions,” and I am not in the habit of numbering my prints.
As a printmaker, the ability to generate multiple copies of an image is at the root of my artistic practice.
While a numbered edition might make sense for certain types of printmaking (such as monotypes), woodcuts and linoleum blocks are far less likely to degrade over time. The decision to limit the number of woodcuts to an edition of 10 (or 100) is entirely arbitrary.
I am less interested in the concept of “limited editions” than the idea of printmaking as an affordable form of art.
To my way of thinking, signed limited editions only serve to reinforce the collector mentality, and the economics of scarcity.
This has nothing to do with art appreciation. Either you like the artwork, or you don’t. It shouldn’t matter how many copies are floating around.
WEB GALLERY: http://www.mnartists.org/efarseth