POOLS AT CHAIR POND HEAD
This is my last completed print of 2018. It is form one of my favorite spots at Petit Manan Wildlife Refuge in Steuben, Maine. I painted the watercolor that is the source of the image in June of 2018. The image measures 7 x 17” and was printed from 7 blocks with 12 rubbings.
I finished this woodblock print in late October 2018. It is based on a watercolor I did in May 2018 while I was staying and painting on the Schoodic Peninsular, Acadia National Park in Maine for ten days. The location of the image is from the same place as DEPARTING STORM. The print was created from 8 blocks and 14 rubbings. The image measures 8.5" x 23.25", framed size is 17 x 31.5".
LATE SPRING CLOUDS OVER ACADIA
This image is also from my spring painting trip to the Schoodic Peninsular. In spring the weather changes so quickly making for dramatic skies with particularly striking clouds which reveal and conceal islands across the water. This image measures 9” x 19” and was created from 6 blocks and 11 rubbings. Framed size is 16.25” x 26”.
A BIT OF HISTORY AND PROCESS
I was a painter for over 30 years, and in 2007 took Matt Brown's workshop in Moku Hanga, Japanese Woodblock Printmaking, and fell in love with all parts of the process. Following two years of practice, color woodblock printmaking gradually replaced painting as my primary medium. The process is contemplative and low-tech with distinct steps: designing an image, carving the blocks and experimenting with colors while proof printing, refining the blocks and ink colors, eventually printing the image.
I paint numerous watercolors en plein air, during the warmer months, returning to favorite places each year. I favor the undisturbed landscape, usually nature preserves, state parks, wildlife sanctuaries, or “undeveloped” coastal areas. I am particularly drawn to Downeast Maine; the Schoodic Peninsular, Steuben, Addison, and Lubec. Distinctive trees, crashing surf and rocks, bogs, boreal forests, marshes, and active skies are frequently my subjects. During the cooler months, I study these watercolors and select the ones that best capture the spirit of place to use as designs for woodblock prints.
I usually begin an image with sketches or paintings done on-site, and then simplify the design, focusing on the lines of movement and the essential shapes that define the image. After figuring out how many woodblocks are needed to separate the colors in the design, I transfer the shapes in reverse to woodblocks. On each block, I carve away areas that will not be printed leaving the raised (relief) image. I apply light-fast water-based pigments and rice paste to the raised areas, mixing them with a brush directly on the block. Then, I place dampened paper on the block, and rub it with a hand-held baren to transfer the impression. Multiple blocks are used, usually one for each color; overprinting two colors creates additional colors on the print. Usually I print the lighter colors first, and the darkest one last. I print some blocks with a Bokashi (gradation.)
I primarily use Rives, a 100% cotton French paper. All matting and framing materials are acid free and archival.
A COMMISSION: CAPE SPLIT, VIEW TO THE SOUTH
In 2017 I completed my first commissioned woodblock print, Cape Split, View to the South, image size: 9" x 19", printed from 8 blocks and 12 rubbings. The subject is the view from a family's property in South Addison, Maine. In August of 2017, I painted watercolors on-site over two days and then shared them with the family. We communicated during the design stages to help identify what was most important to them. Two of the family members had purchased some of my work earlier in the year and their mother suggested the project.