Avery continues to exploit the constraints inherent in traditional black and
white line etching in his studio in San Francisco for his own suspect purposes.
His work is included in the collections of the Library of Congress, the Fogg
Museum at Harvard University, the New York Public Library, the Achenbach
Foundation for the Graphic Arts, the Stanford University Library among others,
and has been noted in the New York Times. Originally trained as a classical
musician, he discovered etching almost by accident in a class at the local
community college. After learning the basic techniques, he intently pursued his
own course of discovery, developing an exceptional technique and creating a
remarkable body of finely wrought miniature etchings and drypoints. Even though
“black and white doesn’t sell”, he has eschewed the use of color, finding the
subtleties and tonalities of black and white most capable of creating the psychological
mood that allows his work to be effective.
Moving through the artistic process intuitively and without conscious
thought, Colleen Premer taps into her artistic soul to produce balanced and harmonious compositions.
This southern California printmaker is lured by the world of monotype and
monoprint for the immediacy of results, but she also lends her creative hand to
encaustic painting and intaglio printmaking.
Colleen is highly influenced by her artist mother, Elaine Kennedy, who
was an acclaimed local painter and printmaker. She was exposed to the art world
at an early age through her mother’s circle of friends and the many art shows,
exhibitions and gatherings they frequented together. Although Colleen has a
journalism degree and an M.S. in clinical psychology, her passion for art kept tugging at her heart. She
eventually discovered printmaking at the Idyllwild School of Music and the
Ranging from abstracted shapes to intricate design, Colleen’s
body of work takes its inspiration from observed line, shape and color. She
often contrasts recognizable elements, like a spinning Ferris wheel, with
shadowed spheres and elongated patterns. Her
creativity doesn’t stop there! Colleen also
works with chine colle, image transfer and printers inks for a multi-layered
print that is steeped in meaning. Some of her more recent works have embedded
excerpts of letters written by Colleen’s mother, creating timeless memories.
Always pushing herself
to solve a problem from a different angle, Colleen’s work reinvents the
familiar to present it in a new and unusual way. Her recent Tattoo Truck linocut relief print boldly presents
the cab of a big rig head on. With careful control, Colleen has carved and
outlined tattooed flames licking the outer shell of the cab. Rougher cuts add dimension within the
image’s background. Colleen’s inspiration largely is drawn from her attraction
to the clean lines and human-like features of cars and trucks. Additionally,
the methods and history of Japanese printmaking and artistry (including the
culture’s unique take on tattoos) intrigue Colleen. The result is
Ever changing, always
experimenting, creating beauty out
of the mundane, Colleen surprises us with a greater level of
sophistication every time we see her newest works. And, we would love to share
them with you!