Amanda Damsma

E.J. [Ted] Howorth

Creative Work and Research
 
Printmaker E. J. Howorth has exhibited internationally, nationally and locally, with work in Canadian and international collections. Inspired by visual perception and narrative and influenced by process, Howorth bridges the digital and traditional in his work. In the 1980s and 1991, he introduced water-based screenprinting to Open Studio in Toronto, the University of Manitoba and to Druckwerkstatt/BBK in Berlin. A full-time lecturer in printmaking at the University of Manitoba, Howorth has a long-standing association with Open Studio, Toronto and Martha Street Studio, Winnipeg.
E.J.Howorth studied at the Universities of Manitoba, North Dakota and Minnesota, at Metchosin, and with Atelier Arcay in Paris.

Laine Groeneweg - mezzotint

lainegreenway.com

estampes: Laura Bydlowska

BIOGRAPHY

Laura Bydlowska was born in Warsaw, Poland. She currently resides in Toronto, Ontario and prints at Open Studio.

Laura obtained a B.A. (Hons.) in Art History and Studio Art from the University of Guelph. Later, while pursuing her Master of Museum Studies at the University of Toronto, she interned at the Royal Academy of Arts in London where she completed a print that was displayed in the RA staff show. Recently, her work was featured in a traveling exhibition with the Ontario Society of Artists called “pARTners: A Collaboration,” the Japanese Paper Place “Under 30 at 30” exhibition, and Open Studio's annual “100 Prints” show.

ARTIST STATEMENT - PRINT WORKS

Laura Bydlowska's abstract prints reveal hidden caverns, overgrown burrows, sediment layers and sprouting fauna, occasionally dotted with small amounts of colour. Exploring the underside of the natural world, Laura tends to limit her control over the etching process so that the overall look is purposefully unrefined.

Robert Rutherford - "silkscreens"

Robert Rutherford was born and raised in Ontario. He studied with David Blackwood at Trinity College School, at the Banff School of Fine Arts, at L’Ecole des Beaux Arts d’Avignon, France, and at the Ontario College of Art. In the mid 1970’s, Robert moved to the Atlantic region where he continues to live and explore coves and ports. It is from these landscapes that Robert creates his art. He has developed his skill as a serigraph printmaker in unique ways. His manipulation of the up to thirty screens involved in each image, creates visual textures and shadings not usually found in serigraphs. Robert enjoys a playful nature and his works reflect that inquisitiveness. Movement plays an important role in many of his works; the path of a water current, the roll of a cloud or a Viking ship sailing through the sky. He says of his method, “Several times each year, I pack my thirty five year old classic motorcycle with camping gear and explore part of Atlantic Canada. When a good subject shows up, I find a quiet hill and draw for two or three hours. No photographs. The image is translated in the oldest, most direct language of symbols.” Robert challenges us to look around at the land and sea that is so familiar, and then helps us to realize it in a new way. Robert Rutherford’s paintings and prints have exhibited in solo and group exhibitions throughout Central and Eastern Canada. His work is found in collections such as; Nova Scotia Art Bank, Saint Mary’s University, Burnaby Art Gallery, Royal Military College, Imperial Oil Co., and Parks Canada.

Kath Rutherford - jan le 10 jusqu'a fév le 30 - hand coloured mezzotint engravings

                

                        Beelines      AP 1/5     10"x10"



A bit about Mezzotint

When I was introduced to mezzotint twenty eight years ago, I bonded with the technique immediately...I loved everything about it, including the huge time commitment. 
 

The rich soft dark tones characteristic of the mezzotint, are achieved by repeatedly 'rocking' a curved serrated blade on polished copper plate. Few artists today have the time to rock a plate for the days it takes to cover the plate completely in one direction, and then again at right angles to the first and so on until at least twelve different directions have been rocked. The rocked plate will print a solid black, which is then scraped with a knife to create a range of tones. The finished plate is then inked, wiped and rolled through a press with dampened paper, then, in most cases watercolour paint is added.

Drawing directly on the plate with only sketches to guide me, I hope to share a quiet wit & playfulness. Most of my works are small...most subjects could be held in a hand. My images are carefully constructed and precisely detailed

compositions inspired by humourous interpretations of proverbs, folklore and sayings. 

I would like to share this quote as a New Year's wish 

Play with Abandon.

Choose without Regret.

Make Mistakes and Make New Things.

Appreciate Everything.

Continue to Learn.

Do what we Love.

Make More, Use Less.

Dream Dangerously.

Live like this is all there is!

               Phases of the Moonsnail  21/35  6" x 18"

               Red Sky at Morning    30/35     6" x 18"

                 dragon lady        15/30        9" x 9"

               On Thin Ice      AP 1         6" x 18"

      A Close Knit Community get Socked In     AP 1/5     12" x 6" 

                 saucer magnolia     17/35       9" x 9"

                 Butterfly effect      3/40      10" x10" 

                The Never Ending Yarn   8/20   11" x 18"

                   Pecking Order   3/35      6" x 18"

                    Night Cap      41/45      6" x 6"

                Learning the Ropes    AP 2/5   4" x12"

               Heartwarming      printers proof      9" x 9"





 

                    Daisy Chain     3/35      12" x 4"

                  Spot of Tea        23/40      10" x 10"

        Mackerel Sky not Twenty Four Hours Dry   23/35      6" x 18"

                     On a Roll   17/35      6" x 18" 

                Mares Tales      AP 2/3      4" x 18"


 

Biography

born Montreal, PQ, Canada  1956

Kath Kornelsen-Rutherford was first introduced to intaglio printmaking while studying with David Silverberg at Mount Allison University in Sackville, New Brunswick where she met her husband, fellow printmaker Robert Rutherford. In 1978 they moved to Musquodoboit Harbour, on the Eastern Shore of Nova Scotia and began to build two print studios. In 1982, with the first of two Elizabeth Greenshields Foundation Awards, she continued her intaglio studies with Ed Porter, at the Nova Scotia College of Art and Design in Halifax, N.S.  Here she began to shift from the chemical process of etching on copper, preferring instead the direct engraving techniques of mezzotint and dry point.

 Kath Kornelsen-Rutherford's work has been selected for the covers of several books, and her work can be found in numerous private, public and corporate collections including the Canada Council Art Bank, the Nova Scotia Art Bank, Hudson's Bay Company, Husky Oil, Calgary, Alberta and Parks Canada, Newfoundland. Over the past thirty years, she has exhibited her engravings in many solo and group shows, including national and international juried events. In addition to engraving, she also creates public and private mosaic tile installations.

novembre - décembre Denise Comeau - WHICH CAME FIRST(techniques mixtes)