Foreword by Michael Chavez

When I decided to pursue a master’s degree in printmaking, I received many puzzled looks. What I found was that there are many misconceptions about what printmaking is. Much of this has to do with the definition of the word, print. The word has many associations, but it can be confusing when referring to fine art. Often, the word print is mistakenly used in referring to a reproduction of some other art form such as painting. While these are technically prints, they are not hand crafted fine art prints such as the works in this exhibition.

Traditionally, a print is a work of art in which an image is transferred from an inked surface to paper. The definition I just described is similar to the one in my History of Prints textbook from graduate school. I revisited that book recently for some inspiration and found the word “bullshit” written in the margin in my handwriting. I don’t remember writing that, but apparently I must have been thinking of the multitude of possibilities now associated with printmaking. It is the one medium that has simultaneously evolved with technology and maintained its traditional methods.

The oldest, most basic and most immediate form of printing is relief printing, exhibited here by Leon Loughridge and Theresa Haberkorn. Relief printing is essentially a stamp. It may be carved from any flat surface. The raised area is inked and transferred to paper, either by hand or by using a printing press. Leon approaches this as a way of ‘painting with woodblocks.’ Normally, a printmaker must think several steps ahead when using as many layers and colors as Leon uses. He works reductively, which means he begins with one woodblock which he carves, applies ink, prints and carves again. This time the block is inked with a different color. Leon makes decisions regarding color as the process unfolds, much like creating a painting.

Theresa also works reductively in her works that are comprised of more than one color. She is most interested in the variations that are possible using the same woodblock. This experimentation brings out combinations of color that are as much discovered as they are planned. The organic texture of woodblocks lends itself particularly well to Theresa’s exploration of natural imagery, both delicate and complex.

I find that most printmakers are like mad scientists in the studio. Take Melinda Laz, for example. Her methods are as eclectic as her inspirations. The works in this exhibition refer to aerial maps of places that have personal significance to her. With the mainstream availability of maps, and even satellite imagery, we are able to recognize this language and relate to it in a way that was unthinkable in the recent past. Melinda uses combinations of relief, collagraph, watercolor and stencils to create her images. Her City Series: Lower Manhattan #1 and #2 are perfect examples of using the same matrix to create variations of the same image.

This approach is taken many steps further in the work of Mark Lunning. Mark is the consummate experimenting printmaker, and why shouldn’t he be? He owns and operates one of the premier printmaking facilities in Denver, and has for nearly 20 years. Open Press Ltd. began operation in January of 1989 as a way for Mark to make a living as an artist and to provide opportunities for other artists to create their work. As an accomplished artist printmaker, he utilizes countless combinations of etching plates, color and collage to create different pieces inspired by nature. Mark has worked with hundreds of artists in realizing their artistic goals, two of whom are exhibiting here – Geoffrey Ridge and Jill Soukup.

Geoffrey has been creating prints at Open Press for nearly a decade. He chooses a most arduous method hardly used in contemporary printmaking, that of engraving. The fine line quality characteristic of engraving is masterfully executed in Geoffrey’s work and can be admired in his piece, Cloudscape. This work has the quality of an Italian print from the 15th century where motion and values are created by cross hatching lines in different directions. Engraving is well suited to Geoffrey’s virtuosic drawing skills. Whether or not an artist is taken with printmaking is dependent upon this marriage of the right method with the right talent.

Jill Soukup has found the techniques of solar plate and zinc plate etching to match her painterly style. Solar plate etching is a newer technology combining the traditional etching process with a light sensitive surface. It is extremely versatile and can imitate the qualities of anything from charcoal drawing to photography.

The possibilities are literally endless. While printmaking sometimes gets lost in the larger art historical context of sculpture and painting, this exhibition provides an essential look at six compelling artists exploring both traditional and experimental approaches. I would like to extend my gratitude to Nicholas Reti and Showings Fine Art for allowing me the opportunity to share my enthusiasm for printmaking.

Michael Chavez

Foothills Art Center

Golden, Colorado