Monday, February 27, 2012
Wednesday, February 22, 2012
Saturday, February 18, 2012
Made a tiny bday gift for a friend today.
Collage on antique copper printing plate with encaustic and oil, 3 3/4" x 4 1/2," 2012
The constraint of the piece was that is was supposed to be a self-portrait, which is so far away from anything I'd ever think about that I was intrigued. So the copper plate is from some long-closed local industrial plant (story of my life here in the Hudson Valley); the target might refer to my fondness for Jasper Johns' work; the dictionary fragment might refer to the goal of artlessness in art; I'm a gardener and have jack-in-the-pulpits in our backyard; and the bullets came from my years in Highland when I lived near a gunclub and would sneak in to collect the spent casings when they were closed...
Have been thinking a lot lately (after conversations over the years with friends Geof Huth, Scott Helmes and Cynthia Winika) about how very small works of art can be very powerful because they are so undiluted spacewise. Schwitters, Diebenkorn's cigarbox tops, Cornell, Kahlo...
Posted by Anne Gorrick at 10:44 AM
Wednesday, February 15, 2012
Most of these monoprints with xerox transfers are on two different kinds of Fabriano paper, one of which behaved in a very skinlike way when put through an etching press. Which makes me crazy with happiness... A couple have some pieces of collaged silk, from a shirt my sister gave me that I loved for a while. It turned from white to a magnificent deep ivory over time. A couple of these are on handmade paper. These prints were made in 1999 at the Women's Studio Workshop in Rosendale, NY. They borrow from my own poems. I don't have images from two other of these prints, which belong to Maryrose Larkin and Carole Cotten.
Posted by Anne Gorrick at 1:14 PM
Monday, February 6, 2012
In 2009, I made 28 FOLIO "books." Each "book" is an unbound sheaf of 16 pages (a piece of Rives printmaking paper quartered and quartered again) of encaustic monotypes. I listened to Mozart piano sonatas, and heavily processed text from all sorts of art criticism on Johns, Rauschenberg, Mitchell and Diebekorn. The text starts to function almost like little relational "plays."
At Peep/Show, you can see images of a Folio #19.
Posted by Anne Gorrick at 12:25 PM
Wednesday, February 1, 2012
For the last 18 months, I've collaborated with the visual poet and architect Scott Helmes. He lives in St. Paul, Minnesota so we've collaborated via the USPS. Over that time, we completed about 60 pieces of textual/visual work. Scott and I "met" as a result of a 50th birthday celebration for our mutual friend, Geof Huth. Geof's wife Nancy put out a call for work to celebrate Geof's b-day, and then created a blog to show the work that feted Geof. I saw Scott's work on the blog, and promptly looked at all of his work I could find. His visual poems reference all sort of Japanese forms without overtly using any text - I was (am continually!) riveted.
Eighteen months later, some our "colab" (a word that is both "collaboration" and "co-laboratory") will be shown at the Gallery at R&F Handmade Paints, Kingston, NY in a group show called Snippets: Visual Text. If you don't know R&F Paints - visit their website. They are essential to our understanding and making of encaustic work in the 21st century. And they make glorious oilsticks that I often have to stop myself from wearing as lipstick.
If you're in the neighborhood, stop by the opening on Saturday, February 4, 2012 at 5pm. We'd love to see you!
Posted by Anne Gorrick at 6:14 AM