Printmaking Teachers at Sevshoon

Anne Belov
I became interested in monotype and monoprint after many years of working both in etching and painting. I was interested in the idea of combining these two very different art forms. My current body of work is the result of several years of experimentation and I am very pleased by the combination of lithographic plates with monotype. The Lithograph give the work structure and definition, while the monotype creates a loose color structure over the lithograph. Working in transparent layers, much as one does in watercolor, I can build up rich and luminous color.

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Barbara Bruch
The Collagraph is the perfect medium for exploring materials, textures, and shapes. Barbara’s focus is on teaching students how to create imagery using dark and light values by applying rough and smooth textures to a cardboard plate. “I like to teach in an atmosphere of fun and exploration by taking impressions from recycled junk in acrylic modeling paste.”
Sev Shoon

"Hierophant Notes", Collagraph

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Malpina Chan
I have found a rich source of imagery in old family photographs and documents. These monoprints denote memories that convey thoughts about lives superimposed upon each other, of multiple generations, the notion of the “paper son”, the dichotomy of going back and forth between two continents and two cultures, the immigrant experience, and the struggle to belong. These images also represent the constant redefinition of self in the changing environment, our resistance to change, the conquering of change, and the re-emergence we experience. My hope is that my images will reach out to people, telling a story about the immigrant experience that transcends racial and cultural boundaries speaking to a universal perspective about family and the human condition.
Persephone Press

Courage

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Eric Day Chamberlain
Eric Day Chamberlain received a BFA in printmaking from UW and a MFA from SMU in Dallas, Texas. He teaches painting and printmaking at Pratt. He has had his prints exhibited through Seattle Print Arts in China, at COCA, and most recently at Gallery 110.

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Claire Cowie
Claire Cowie received a BFA from Washington University in St. Louis and an MFA from the University of Washington. She is represented by the James Harris Gallery, Seattle and the Elizabeth Leach Gallery, Portland. Recent awards include a Pollock-Krasner Grant and fellowships from Washington State Arts Commission, Artist Trust and the Behnke Foundation. Collections include Microsoft, Amgen Corporation, 4Culture, Tacoma Art Museum, Henry Art Gallery and Swedish Cancer Institute. Reviews have appeared in Artforum, Artweek, and Los Angeles Times.

"Pig Man", 2003, etching, chine colle, 6" x 6".

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Daved Ferrell
In my work, I use gestures and poses of the figure with objects imbued with personal symbolic meaning to create archetypal narratives. I am influenced by mythology, symbolism and in-depth histories. I often create work from dreams and from memories distorted by dreams. Narratives of my own or evoking other peoples stories heavily influence and rule my work. My hobbies include reading, knitting and sailing.

"Barretts Self Portrait", multiple plastic-block serigraph print

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Jean Gumpper
Chipita Park, CO

As an artist and printmaker, I work with landscape as a visual metaphor for emotions and experience. I seek to integrate the memory of the experience into the making of the print. The carving of the woodblock and the layering of the ink, echo natural processes such as erosion and the strata of leaves, water, trees and light. Making the print is a way to re–live an experience and to share it with others. I often find myself drawn to close–up images with reflective light and still waters. Some of the prints, in their spatial relationships and attention to nature, honor Asian painting and woodcuts. Being alone in nature helps me to listen to my intuition and to have the patience necessary to really see. Back in my studio during the long repetitions of carving the block and of printing layers of ink, I try to pay attention again.

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Dionne Haroutunian
I have spent much of my creative energy in the past few years developing an increasingly direct approach in my art. That lead me to work in painting and sculpture, both of which I really enjoyed and will continue to explore.
Sev Shoon - Ballard Works

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Eva Isaksen -
I have always had an interest in gardening and a love for nature. Organic forms and the landscape I live in are my main sources of inspiration. Two different landscapes are part of my life, the landscape I grew up in north of the arctic circle in Norway, and the landscape I inhabit here in the Northwest. I often travel between these two places.
Read and view more at www.evaisaksen.com

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Amanda Knowles
Amanda Knowles received a MFA from the University of Wisconsin-Madison. She is actively involved in Sev Shoon and has been for many years. She represented by Davidson Galleries and is on the board of Seattle Print Arts. Knowles has a studio at BallardWorks and works in a variety of traditional and digital print media.
www.amandaknowles.com
Seattle Print Arts - BallardWorks

"Hover 5NW", mixed media, 2005

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Fulgencio Lazo
Fulgencio is a painter and printmaker from Oaxaca, Mexico. He trained
at the Fine Arts School in Oaxaca under Maestro Shinzaburo Takeda. He
strives to reflect the elements of his indigenous Zapotec culture in his
work. Joy, innocence and community are recurrent themes in his brightly
colored, figurative works with flying women. festival lights and masks.

"The Day of the Wood relief", Color etching, 2005

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Ben Moreau
I have always loved to draw, and have been drawing for as long as I can remember. Printmaking is conducive to my love of drawing, and the sequential thinking inherent to the various printmaking processes is a natural fit for my own creative thinking. Printmaking continues to challenge me technically and conceptually, and keeps me engaged in a similar manner that drawing always has.

"The Rage That Simmers Just Beneath the Surface", Lithograph, 2005

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Sonya Stockton
Art is a compulsion to transform and transcend reality. These facts are of paramount importance to me. While believing in art as concept, I also fervently believe in art as process. Sometimes the two are one of the same. In fine art the process is always significant in the outcome of a piece and how it is ultimately received. Printmaking has become for me, a method through which I can manifest my artistic concepts. It also allows me to utilize my growing love of digital media in fine art pursuits.

"Shoo-fly (Homage to Man Ray)", photo-etching, 18” x 24”

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Nate Strottrup
Nate was born and raised on a small farm in Minnesota. His passion for art finds its roots in comic books. He received his BFA from Minnesota State University Moorhead in June of 2004. “It’s the actual process of printmaking that attracts me to the medium. All the steps involved in creating a plate and the sort of ritualistic process of printing it. Craftsmanship is very important to me and I take pride in creating a plate that holds the ink just how I want, prints many colors just right, and finishing with an edition that is consistently printed.” Nate has also worked in sculpture, mold making mostly, which is very similar to printmaking.

"Migration of the Earth God", Reductive Linoleum Cut

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Joan Stuart Ross
My work combines pigment, beeswax, varnish and fire, with wood, canvas, and collage. Messages of color fields, shapes and text cross its surface. Layers cover and reveal a “play within a play--” a reliquary of personal and universal information. Thought and feeling break apart and join together over and under the surface.
Seattle Print Arts - Ballard Works

"Portrait of a Young Girl"

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Kathryn Trigg
There is nothing like the surface of a monotype. When I saw a monotype for the first time 12 years ago, I set aside my many years of painting, drawing and textile art and immediately enrolled in printmaking classes. I have been an avid printmaker of monotypes since then. Even my paintings incorporate layers of monotypes printed on translucent papers. My classes explore traditional monotype and answer the question "What is the difference
between a monotype and a monoprint?"
Ballard Works - Museo

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Kim Van Someren
Kim received a BA from the University of Wisconsin-LaCrosse, and an MFA in Printmaking from the University of Washington. Both institutions allowed her to work very independently and experimentally; I hope to continue to foster this same idea in my own work and in teaching. “As an artist/printmaker, I thirst to feel the incised line with my fingertips, muscle a print through the press, and knead ink through my hands. I am interested in the narrative, things that are mundane, the human figure, and things that do not stand still.” As an instructor, I hope that my passion for printmaking is contagious and addictive. My teaching experience at the University of Washington and the Pratt Fine Arts Center has allowed me to rejoice in my students’ excitement and in their successes with their prints.

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