Author: johnfansmith

Papermaking

I’ve been thinking for awhile about using hand made paper in my print making and collage work, and while I have made paper before, I hadn’t for several years. So I just finished taking a 3 hour workshop entitled “Plant Fibers for Paper Making” from Winnie Radolan at the Abington Art Center, which proved to be a very good introductory and/or review workshop. The pieces shown above, using Ginko leaves and milkweed are a couple of my workshop pieces. I’m going to continue working with using fibers such as day lilies, daffodils, hosta, corn husks, et al, and incorporating those papers in my print making and collage work.

Contours of Flight #2

Contours of Flight # 2 is part of a series of abstract hand inked and hand pulled collograph monoprints which draws on my stained glass and mosaic work to create images that appear to be in motion, engaged in some aspect of flight. Printed on 140 lb cold press watercolor paper. Matted and framed to 11″ x 14″.

Geometry of Power and Light #118

GPL #118 , a digital color photograph, is part of my new Series: “The Geometry of Power and Light“which focuses on the geometric patterns and shapes created by the poles, lines and equipment used for electrical transmission and how those patterns and shapes change as your perspective changes.

Focal Point #1

Focal Point #1, a hand-inked and hand-pulled collograph monoprint is part of my “Focal Point” series, the characteristics of which are: a single dot, or Focal Point; the use of straight lines and geometric shapes, primarily triangles and quadrangles; and the layering of colors. Matted and framed to 14″ x 11″.

A Study in Woodcarving

I recently completed a four day woodcarving course at the Cedar Lakes Conference Center in Ripley, WV taught by Bob Barris. I came back with all my fingers still intact, some knowledge of woodcarving, and the intention to keep working in this medium. The piece shown above on the left is my first student piece, a classic “Wood Spirit” with hair and beard; and the one on the right shows how I morphed it into my own design, a “Medieval Knight” with helmet, sword, shield, chain mail and a beard. Having ordered the tools I think I need to keep carving, I’m going to spend the next few weeks with a sketch pad and sorting through my wood pile.

Cauldron #1

Cauldron # 1 is part of my series “Crucibles, Cauldrons and Calderas” which explores firing stained glass and paper clay together in sculptural forms using a red/yellow/orange/black and metallic palette. Composed of paper clay, stained glass, underglazes, and low fire and cone 6 glazes fired to over 2000 degrees. 6 1/4″ x 7″ x 6″

See No Evil #4

See No Evil #4 is another in my series of raku fired paper clay and mirrored glass wall hung masks. Like the others, its inspiration comes from no specific source but from my interest in the diverse roles masks play in all the world’s cultures. 12 1/2″ x 7 1/4″.

Dreamscape #1

Dreamscape # 1, a hand inked and hand pulled print combines collographic and monotype techniques into a single monoprint. It seeks to create the impression that the figure is emerging from the background and heighten the visual tension of the piece. Water-based ink on 140 lb. cold press watercolor paper. Matted and framed to 20″ x 16″

Morning Rose

OLYMPUS DIGITAL CAMERA

Morning Rose, a photograph taken with an Olympus SP-500UZ, 6 mega pixel digital slr camera on a September morning in Hillsville, Virginia, is part of my “Southern Exposure” series and represents one of my first steps away from silver gelatin, black and white film I developed myself, as in my “Still Life in the City” and “From the Garden Path” series towards a body of digital, in color, work. Matted and framed to 12′ x 12″.

Virgin Sacrifice #1