The Story of Printmaking Si l’estampe m’était contée
The Story of Printmaking, Mirella Aprahamian, Claude Arseneault, Carlos Calado, Élisabeth Dupond, Julianna Joos, Renée Lefrançois, Claire Lemay, Andres Manniste, Monique Manseau, Loren D. May, Christiane Roy
The Story of Printmaking Si l’estampe m’était contée
The Story of Printmaking is an exhibition of original prints with a didactic purpose. The purpose is to
show how the artists exploit the different printmaking processes to
create images with visual qualities that have been generated from chosen
technical processes. Each process has its own vocabulary, its own potential
and its own limitations. Relief printing is about shape, positive and
negative, while burin engraving and dry-point engraving are about line
quality. Serigraphy is the artist’s choice for color usage while mezzotint
and aquatint enable a wide range of values. Lithography is the best
process for pencil and crayon drawing while monoprint is the best process
for painting. Collagraphy enables the artist to manipulate found materials.
Digital printing is well-suited to the artist who images with software
and may also choose to combine various other techniques including intaglio,
serigraphy and lithography.
The artists, Mirella Aprahamian, Claude Arseneault, Carlos Calado, Élisabeth Dupond, Julianna Joos, Renée Lefrançois, Claire Lemay, Andres Manniste, Monique Manseau, Loren D. May and Christiane Roy, all have approached the visual language challenge of trying to exploit the inherent
qualities of a chosen process.
Julianna Joos, Exhibition Organiser
Si l’estampe m’était contée est une exposition d’estampes originales à caractère didactique. Son but est
de montrer comment les artistes exploitent les caractéristiques propres
aux différentes techniques d’exécution pour créer leurs estampes. Chaque
procédé d’impression a son propre langage, ses possibilités et ses
contraintes. La gravure en relief s’affiche sous des formes positives
et négatives, tandis que la gravure au burin et la gravure à la pointe
sèche s’expriment par la ligne. La sérigraphie offre le choix privilégié
pour la couleur alors que la manière noire et l’aquatinte permettent
une riche gamme de valeurs. La lithographie semble la technique la
plus appropriée pour le dessin au crayon alors que le monotype est
celle qui s’apparente le plus à la peinture. La collagraphie récupère
les matériaux trouvés. Avec l’estampe numérique l’artiste crée son
image à l’aide de logiciels; il peut aussi la manipuler pour l’intégrer aux techniques traditionnelles de l’intaglio, de la sérigraphie et
de la lithographie grâce à des procédés de collage ou de transfert
photographique.
Les artistes, Mirella Aprahamian, Claude Arseneault, Carlos Calado, Élisabeth Dupond, Julianna Joos, Renée Lefrançois, Claire Lemay, Andres Manniste, Monique Manseau, Loren D. May et Christiane Roy,ont relevé le défi du langage particulier de l’estampe et exploité à leur manière
les caractéristiques inhérentes à chaque technique.
Julianna Joos, commissaire
Mirella Aprahamian
Spirale marine VI, 2003
9 x 9 cm
monoprint-collage
Mirella was born in Beirut, Lebanon. In 1984 she settled in Montreal after living
in Geneva, Athens, Casablanca and London. Mirella has exhibited in the Middle
East, in Europe and North America and has been invited to printmaking biennales
including, Ljubljana, Taiwan, Lodz, Cadaques and Salzburg. She is represented
in several collections including the National Library of Canada, Bibliothèque nationale du Québec, the Sursock Museum in Lebanon, Lodz Museum, in Poland and San Lazzaro Museum
in Venice.
She studied at The Lebanese Academy for Fine Arts in Beirut, École des Beaux-Arts in Geneva , the Sir John Cass School of Art in London and the Pratt Graphics
Centre of New York.
...Since 1976, my great passion for a wonderful Austrian artist, Hundertwasser, has pushed me to use certain themes which were recurrent in his works. This is how I developed the love for the spiral which is first a kind of stone, falling apart in the middle of the torrents and end up in the midst of the wild seas. (Top)
Claude Arseneault
September 11, 2001, 2002
127 X 127 cm
mixed media
Claude has exhibited her prints in Canada as well as the United States, Portugal,
Hong Kong, and France. She has had solo shows at Oboro Gallery, Vanier
College and Galerie Studio J in Montreal. She has been a regular member
of Graff and Conseil Québecois de l’Estampe. She has apprenticed at
Atelier Graff and l’Atelier de l’Ile de Val David. Her academic qualifications
include undergraduate and graduate degrees from McGill University.
Claude is presently the Printmaking coordinator at Dawson College.
My latest work investigates the relationship between art making and architecture.
Architectural characteristics of a recently acquired building constitute a
bank of images that in turn conjure visual metaphors related both to the practice
of making art and that of architecture. Here, architecture is a sense of space
and place where feelings of the inner self may be projected. The conjured images
derive their original form through printmaking techniques. These techniques
are not used for their end product- the original print- but simply constitute
one of the processes used to create the work. Different media: printmaking,
encaustic painting, relief work and architecture are haptic experiences that
give me the opportunity to color, to touch, and/or to alter a chosen surface.
In printmaking, plates become spaces that are incised, carved, inked and printed.
Many years are often spent mastering processes and techniques. Throughout
history, printmaking has reflected our society ranging from collections
of popular images to the most refined Rembrandt etching. The ongoing
battle of the recognition of printmaking as an art form has recently
been revived with the advent of the digital print. After many years of
practice as a printmaker and teacher, I now choose to use the singularity
of the printmaking techniques, without producing an edition, as a creative
process to construct my work. I wish to no longer be concerned or lured
by the technique, nor the signature, nor the rarity of the print.
Resistant Place, Resistant Plate is an artwork that uses the processes of printmaking to elaborate a relationship
between art making and a sense of space and place. The poetics of printmaking
lies in the resistance of the matrix to take form. This same resistance to
embellishment is found in the industrial space symbolized by the nail from
the neighboring train tracks and a Calla lily from the non-existing garden.
The matrix, the rocked mezzotint plate is the art form. The print is the embellished
version on paper. The architectural inside-out image from the space conjures
images of shelter and protection like that of the carved cave and the relief
of closed walls. Finally, layers of encaustic paint sit on the surface much
like decorative wall painting. The resistant place just like the resistant
plate is the altered space where the dialogue with the making of art and the
self are projected. (Top)
Carlos Calado
Son histoire, n.d.
50 x 65 cm
lithograph
Carlos was born in Angola. He has exhibited his prints extensively since coming
to Montreal in 1979. A member of Conseil Québécois de l’Estampe, he is represented in public and private collections in Angola, Portugal, Switzerland,
Poland, as well as Canada.
Carlos began studies in decorative painting in Luanda and completed his education
at the Lisbon Art School.
La gravure et plus particulièrement l’eau-forte avec toutes ses variantes,
sied on ne peut mieux à Carlos Calado… Travaillant en négatif et spécialement
attaché à rendre la gamme des demi-tons et des dégradés, Carlos Calado est
obligé d’utiliser les diverses ressources
d’une technique qu’il possède avec une rare maîtrise. Il invente, met au point
les trucs du métier… L’essentiel dans le travail de Carlos Calado, réside dans
une fréquentation soutenue, patiente et intime avec la plaque et les acides.
C’est dans la minutie de cette complicité que l’artiste aime à s’égarer et
qu’il se retrouve. La gravure finie, l’épreuve est certes importante mais elle
le sera d’autant plus qu’elle réussit à rendre manifeste le processus de son
élaboration. (Luis de Moura Sobral) (Top)
Élisabeth Dupond
Petit Pays, 1999
10 x 11 cm
intaglio
"Pointe à graver, burin et berceau ont servi à construire un petit espace de lumière
imprimé sur papier St-Armand".
Élisabeth has participated in numerous national and international exhibitions since 1974.
She has a diploma in printmaking from L’École des Beaux-Arts de Montréal, studied Art and Architecture at the University of Montreal and received her MA ès arts from UQAM.
…je réaménage un territoire à travers la matérialité des médiums utilisés,
le support étant, entre autres, un endroit de passage, un lieu où se condensent
geste et pensée. L’espace qui m’intéresse se situe dans les failles entre les
catégories définies ou souhaitées, aux frontières des multiples univers qui
se côtoient. (Top)
Julianna Joos
Appasionata, 2000
26 X 66 cm
etching
Julianna was born in Montreal. She has been the recipient of numerous
prizes in printmaking since she began to exhibit in the early 80’s.
She was the Chairperson of the Conseil Québecois de l’Estampe in
1997 and 1998. She studied etching and wood engraving under Francine Simonin
and has both undergraduate and graduate degrees in Fine Arts. She was the
coordinator of the Studios at Graff before joining the Faculty
of Dawson College.
Le formel me séduit par son abstraction qui met en valeur la force du langage,
alors que le narratif plus accessible éveille en moi plusieurs niveaux
de réflexion. Je m’alimente de ces contradictions comme de celles qui opposent
les techniques traditionnelles aux nouvelles technologies. Ces aller-retour
s’immiscent dans ma production et deviennent l'objet de ma recherche. (Top)
Julianna Joos
Prélude et fugue, 2000
26 X 57 cm
etching
Renée Lefrançois
Transparence, 2003
25 x 19,5 cm
image on intaglio
Renée exhibited her work recently in a solo titled Racine at Salle Gésu
in Montreal. She has studied printmaking and art history in Canada and
abroad and has been active in art associations such as the Conseil Québecois
de l’Estampe, RAAV and Versus. She has completed both a Certificate and
a Bachelor’s degree in Fine Arts from UQAM.
Ma recherche personelle tend à exprimer la profondeur du temps sur la nature
et les choses, leurs mystères et leur vie intérieure...Toute création artistique
est pour moi une représentation de l’esprit qui fait suite à un long processus
interne, et qui se manifeste dans la matière. (Top)
Renée Lefrançois
Luminosité, 2003
25 x 19,5 cm
image on intaglio
Since 1982, Claire has exhibited in Canada, France, Switzerland, Spain,
Argentina, Cuba, Ireland, Poland and several other countries including
a solo at Casita Galeria in Mexico. She is a member of several printmaking associations. Her work can
be found in the Bibliothèque nationale du Québec as well in the collections
of Loto-Quebec and Hydro-Quebec. She has degrees in Art from UQAM and Education
from Laval University.(Top)
Andres Manniste
étude pour Pendaison, 2002
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Andres was born in Sault Ste. Marie. Andres studied etching under Arnold Saper
in Winnipeg and silkscreen with Pierre Ayot. His most recent exhibition
was of a selection of prints from his project Phasis at Esthésio Art Contemporain in Quebec City. A recipient of several grants and prizes, Andres has been a member
of Atelier des Réalisations Graphiques and Graff. His work is in public and private collections including Musée d’art Contemporain de Montréal. Andres has an undergraduate degree in Fine Arts from Manitoba and
a MA ès arts from UQAM. He has been teaching at Dawson since 1982.
Nous nous inventons des dieux pour envisager nos craintes face à la
mort. De cette réalité découlent des comportements humains purement
instinctifs. Nous sommes à la fois inventeurs des religions du monde
et les chamans des temps primitifs. Ces idées pour moi sont source
d'inspiration quand j'enquête sur le lieu physique de mes origines
et de ma finalité en relation avec ce lieu.
Toutes les religions du monde sont issues d'hommes primitifs qui jadis
traçaient des symboles dans le sable du bout du doigt et, ce que je
veux exprimer par ce travail est - et alors? (Top)
Monique was born in Montreal, and acquired her taste for music and art at an
early age. At twelve she won a poster contest organized by the Montreal
Symphony Orchestra. She was strongly influenced by her father, a
scientific illustrator and physician.
Her career began as a trained violinist but she soon became interested
in printmaking. She has been an active member of Graff for several years
and has exhibited extensively both nationally and internationally. She
has also been invited and has participated in several printmaking symposiums
and biennials. (Top)
Loren D. May
do this (desert fish), 2001
7.5 x 18.5 cm
digital print
Loren has been teaching art and computer, drawing and sculpture at Dawson College
since the early 1990's.(Top)
My images are conceived in series and sequences, with the quality of a chronicle.
Visual elements recur, re-interpreted and and re-visited. A symbollic use
of imagery illustrates a poetic transformation, with an associated text.
Digital imaging is particularly well-suited to creating these expressions
of fluid chaos.The series “do this” comes from my visit to a British war
cemetery in north Africa,
where my father’s brother was buried.
Loren D. May
do this (nightfish), 2001
7.5 x 18.5 cm
digital print
Christiane has participated in solo and group exhibits in several countries including
Spain, Taiwan, France, and the United States. Her works are found in
several private and public collections. (Top)
ACKNOWLEDGEMENTS
The organizers of this exhibition wish to thank all the
people who generously contributed to the event.
Neville Gurudata, Academic Dean
Graeme Welch, Dean of Pre-University
Juan Gomez-Perales and the Fine Arts Department
Ray Boucher, Student Services
Exhibition Coordinators:
Giuseppe Di Leo
Julianna Joos
Andres Manniste
Website:
Andres Manniste
October 8 to 20, 2003
Organised by the Dawson College Fine Arts Department for the Warren D. Flowers
Gallery
4001, de Maisonneuve, Montréal
Montreal, Quebec
H3Z 3G4
copyright 2003 Dawson College Fine Arts Department