T R A CE S _ CA T A LO G U E

TRACES| Damir Porobic | Lizy Bending | Hilary Lorenz |

| Valeriya N-Georg | Greg Dunn |

Traces: Contemporary Print Making

Exhibition:Audain Art Centre Gallery July 28th to August 21st 2015

This print exhibition is cuThis print exhibition is cu-rated by Jack Chiu, Angela Ko, Janna Kumi and Sherman Yik.

*The actual publishing of this Cata-logue is likely never to take place unless Phil would like to personally pay to have it published and print-ed. In such scenerio we forefeit any copyrights to this catalogue and all intellectual properties relating to the exhibition. You do however, need the permission of the artists exhib-ited in the hypothetical show.

IntroductionThis exhibion seeks to explore some of the ways contemporary printmakers from around the world are moving beyond tradional printmaking techniques and paper supports. We have chosen arsts who use tradional printmaking techniques in new and unexpected ways, or who incorporate various systemac printmaking methods while pushing the boundaries of print-based work. “Traces” refer-ences to the relaonship between tradional and contemporary priprintmaking.

Incorporang all manner of printmaking techniques along with col-lage, assemblage, installaon, three-dimensional surfaces, digital print on gels, metals and other supports, these arsts are embracing new and excing froners. Throughout this process, collaboraon with other disciplines and prac oners is increasing hybridizaon between the various visual arts. Through the constantly evolving new combinaons of media, printmaking is emerging as a preemi-nenent art form. Tracing the footsteps of the past to move forward into the future is what current printmakers are exploring today. The print world has changed, escaping the paper boundaries, acvely explor-ing other substrates, methods and topics.

Gallery Illustration

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1.Damir Porobic - Memory Prints

2.Lizy Bending - Recycling The Garbage “Mangalyann Orbiter #1” “Mangalyann Orbiter #2” “Mangalyann Orbiter #3”

3.Hilary Lorenz - Mountain Journeys

4.Valeriya N-Georg - Life and Death4.Valeriya N-Georg - Life and Death “Feel My Way” “The Brain Fingers” “Life”

5.Greg Dunn - “Cortical Circuitboard” “Brainbow Hippocampus” “Chaotic Connectome”

6.Greg Dunn - Etching the Neural Landscape6.Greg Dunn - Etching the Neural Landscape (Projection Video ) 7.Art Performance - “Sound and Print”

Damir Porobic

Memory Prints

Damir Porobic photographs his memories. “We all dream and remember,” Porobic says, “We all recall.”

TheThe prints are subtle, fleeng composions that vaguely resemble something familiar: A chair, a car or some other thing from a moment in me that we remember but can’t quite place. The images are foggy, opaque and elusive.

PPorobic, who lectures on printmaking and digital arts at the University of Southern Maine, documents his subjects at different mes and circumstances. He reduces those mulple photographs to a single image. The result is something between a photo and print. They are prints in the sense that he runs his image through a printer dozens of mes, creang a complcomplex and layered final image. He uses a digital printer almost like a prinng press, where an image is constructed in mulple passes.

Damir Porobic Casco Flag - Untled(Memory Series)2014, Digital Print on Paper100 x 75 cmPhoPa Gallery, Portland, ME

Lizy Bending

Recyling the Garbage

LiLizy Bending is a graduate from the University for Creave Arts (Farnham) who combines print media with the construcon of objects, her pracce aims to provoke discussion, using emove aesthecs that transform socio-polical concepts into visually sm-ulang bodies of work

Bending's installaons begin life simply as prints, then starts to work on them. Using techniques from mulple disciplines including a collaboraon with sculpture and object making (through carved wood-block and print transfers), the prints are trans-formed to occupy three dimensional spaces and become installaons, but sll retain their informa-on as prints. Bending's passion within her print-making pracce is to challenge her audience about its preconceived noons of what a print is, and whether printmaking can be more than 2D or just flat image making.

Lizy BendingMangalyaan Orbiter #1 2014, Digital Print and Print Transfer

LeLizy BendingMangalyaan Orbiter #2 2014, Digital Print and Print Transfer

AboveLizy BendingMangalyaan Orbiter #3 2014, Digital Print and Print Transfer

Hilary Lorenz

Mountain Journeys

JournJourneys is a series of linoleum prints and a large-scale installaon, based on Lorenz’s mountain trail running. Each run she completes imbeds in her an intense memory of the physical and mental strength required to run, over a period of days many 100’s of kilometres across mountain ranges, through radical changes of weather, making each run a com-plpletely new experience. Recording her distances, me, and geographical locaon, her physical memory along with the GPS data is used to create visual maps specific to each mountain: abstract, in-tuive me lines that mark a spaal journey of transformaon. Lorenz’s printed image represents a legacy of the experience that has been decoded ththrough the repe on of thousands of ny carved lines.

Hilary Lorenz standing next to her work - Mountain Journeys2014, Digital Print and Print Lino-cut collageMuriel Guepin GalleryBrooklyn, NY

Top and LeHilary Lorenz Mountain Journeys2014, Digital Print and Print Lino-cut collageMuriel Guepin GalleryBBrooklyn, NY

rightHilary Lorenz Mountain Journeys (Various details)2014, Digital Print and Print Lino-cut collageMuriel Guepin GalleMuriel Guepin GalleryBrooklyn, NY

Valeriya N-Georg

Life and Death

VValeriya N-Georg creates monotype prints on a lay-ered gel medium. Her work looks at the brain, for ex-ample, the Axon, a basic part the human brain struc-ture. In this work is related to her larger pracce where she explores the area between the physical human body and the invisible human spirit. Interest-ed in exploring the boundaries between the inner and outer body; between the physical and meta-physical; tangible and intangible, she explores the tacle and the opcal image. Her process of prinng on layered gel is reflected in her references to the gradual peeling of human skin, exposing and sug-gesng the materiality inside the human body.

Valeriya N-GeorgFeel My Way2013, Layered Gel Print with Ink Drawings

LeValeriya N-GeorgThe Brain Fingers2013, Layered Gel Print with Ink Drawings

RightValeriya N-GeorgFeel My Way2014, Monotype Gel Prints

Greg Dunn

Etching the Neural Landscape

AA PhD neuroscienst, and now an arst, Dunn draws inspiraon from the materials and techniques of Asian scroll painng to visualize the complex wiring of the brain. Believing that both art and science arise from our root desires to describe our experience of reality, and he draws evenly from arsc and scien-fic approaches to capture the essence of the neu-ronsrons that carry sensaons and produce thought. Working with Brian Edwards, an expert in opcs, photolithography, and electrical engineering, they collaborated to yield an arsc breakthrough they have named reflecve microetching.

Microetching is a photolithographic process, similar to microchip fabricaon, that breaks up images into reflecve channels, which are engraved into the sur-face of a photoresist, which is then coated with 22-karat gold leaf aer engraving.

Greg DunnCorcal Circuitboard2014, Gold, metal powder, ink, and dye on aluminized panel92 x 61 cmPhiladelphia, Philadelphia, Penn

AboveGreg DunnBrainbow Hippocampus2014, Gold, metal powder, ink, and dye on aluminized panelPhiladelphia, Philadelphia, Penn

RightGreg DunnChaoc Connect2014, Gold, metal powder, ink, and dye on aluminized panelPhiladelphia, Philadelphia, Penn

AHVA Collection

1. Andrew Powe - The Biggest Sin

2. Marie Tak Sum Lee - Reflection

3. Ali - “Andy Warhol” After Christopher Mako’s “Altered Image”

4. Maureen Savage - Stasis

5. K.H & S.K - Sewing the Screen

Andrew Powe

The Biggest Sin

TheThe arst portrays an illustraon of the sin, gluony, from Dante Alighieri’s Inferno. The tle of the artwork suggests Powe believed that gluony is the biggest sin out of the nine. It is interesng to note that the idea of the biggest sin might be subject to change for dif-ferent viewers. If gluony is the biggest sin, thenthen I wonder what the arst’s opinion of the other sins would be. One possibility is perhaps the other sins are more forgivable for the arst.

Andre PoweThe Biggest SinIntaglio Print78 x 58 cmUBC AHVA Collecon

Ali

“Andy Warhol” from Christopher Makos' photo of Andy called “Altered Image”

TheThe artwork has a reference to Warhol’s screen print style and Christopher Makos’ photograph of Andy Warhol. Christopher Makos is an American photographer and arst. He apprenced with photographer Man Ray and collaborated with Andy Warhol. The shape of the print is similar to an old portrait phophotograph which perpetuates the idea of taking the photograph of Warhol. The artwork explores gender polics based on the fact that the portrait appears to be a man dressed up as a woman.

Ali“Andy Warhol” Aer Christopher Mako’s “Altered Image”Screen Print72x 66cmUBC AHUBC AHVA Collecon