Hidden Time: The League of Unapologetic Printmakers
Ash ArmentaThese four images were created in my bedroom post quarantine. “Six Feet Apart”, is a small linocut print that responds to social distancing. Two hands face each other and out of each palm grows flowers that reach for each other horizontally.
Signal, Proof, linocutThe print “Signal”, focuses on a single figure, with eyes closed concentric beams surrounding him. It is a portrait of a friend who I have kept in contact with through the quarantine. I imagined what it might look like if instead of the technology we use to communicate, if his amplified intention was the signal sent into the world to make emotional connections.
Falling 1Throughout the social distancing I have been acutely aware of our newly embedded fears of closeness with others. I became intrigued with ideas around meeting places, connection, and fragility. While finding myself stuck watching fail videos of skateboarding, cliff diving, and the like, I thought about the vulnerability of those bodies. The unknowns of losing connection while airborne and the eventuality of violently meeting the ground again.
Six Feet Apart, linocut printI noticed the queasy feeling of wanting to know and wanting to look away from the falls had some similarity in my feelings of anxiety around listening to the news. In the two “Falling” blocks, I chose to leave the two figures in positive black space. I wanted to remove the meeting place, the indication that they would collide with something familiar again. Instead they are suspended in an unknown, neither good or bad
Synovia KnoxThe first series of prints included in this presentation are entitled Aura I-III. These portraits began as film photo negatives, that were then developed and scanned. From the digital images I used the hand fed method on canvas to create 3 tapestries, to which I added gold leaf hand detailing.
Aura IAs an African American woman, oftentimes when I see representations of my race and gender in the media, I feel as if our global narrative as a people is completely out of our hands. This piece was an exploration of agency. It is not necessarily intended to be political in any other way than create a positive representation for black women. It does not attempt to encompass all narratives, nor does it attempt to create an image that should set a beauty standard. It is mostly an aesthetic project.
Aura IIThe historical context using a film camera inspired this stylized shoot in which I was allowed to explore my own cultural and stylistic gaze. However, with the politicized association of the black body, I’m aware that intentionally or not, this piece is charged in many ways. Although the final piece on display is not a part of this series, the reference image comes from the same shoot, so it has a similar purpose.
Aura IIIThe piece Reflection is a CMYK silk screen print that utilizes Cyan and Magenta ink. This image as well as the others exist to create and normalize positive representations of and for black women, by a black woman. This above all, whether it be through content or action, is my goal as an artist.
Chickens, ScreenprintIn screen printing, I am very interested in using ephemera in my work. For as long as I can remember I have been saving old photos, magazines, ribbons, fabric, etc. and have found that printmaking is a great way for me to immortalize my vintage treasures. The imagery in Chickens was found in a “Yearbook of the U.S. Dept. of Agriculture” from 1901, and valentines day cards from the 1940s and 50s.
Chickens, Screenprint editionSomeone collected these items for decades, so I feel obligated to care for them in the same way. Through my work, I believe I am doing my part in honoring these items I find precious, when others may see them as unnecessary clutter.
the best thing, ScreenprintThe Best Thing follows this same vein of thinking, as it is meant to celebrate the craftsmanship and care people have put into cross-stitches and embroidery that often ends up at thrift stores.
Untitled ArtworkMy artwork explores altered states of mind through absurdity and humor. My cartoony illustration style, unnatural subject matter, and bright color palettes aim to depict the feelings and visuals of being under the influence of psychedelic substances, such as marijuana and psilocybin mushrooms. Psychedelic substances allow for users to discover new perspectives, perceptions, and realities. My work seeks to construct these new, unworldly spaces on a two-dimensional plane.
Untitled ArtworkAlthough marijuana has been legalized in many states across America and its cultural view has been shifting, many people are still against the usage of cannabis. Growing up in Wisconsin, a state where weed remains medically and recreationally illegal, I’ve seen the negative stigma of being a “pot head” or “stoner.” My artwork attempts to shift the negative perceptions of cannabis by mocking the current stigma that exists through humor and exaggeration.
Untitled ArtworkMy drawing style and subject matter is greatly influenced by cartoons and animation. I’m intrigued by the absurd way that cartoon characters are able to do things viewed as impossible to humans, without causing any type of serious damage to themselves or others. My work incorporates anthropomorphic animals within illogical situations to convey altered perceptions and realities.
Emma RoseThe four pieces displayed here are all quite different conceptually but they all came from quick sketches I have done over the course of the quarantine. My work is all developed from my journals, old diaries, and sketchbooks so that it has as much of me in it as possible.
Since I began making art, my main goal has been to translate my lived experiences, thoughts, and, emotions into something tangible that I can use to relate to other people.
Collage with PortraitsThe collages are made out of a handful of sketches pulled from my sketchbook.
Glare is attempting to mimic the terrifying ordeal of being seen and perceived in public.