Caryl Gordon
Abstract Landscape is my main focus using various printmaking techniques.
I try to imagine what’s between Earth and other solar systems, what’s between our familiar “above ground” and what is deep
below us, even what’s going on in cyberspace in the world of communications, a place of seemingly ephemeral existences.
I envision these abstract, ambiguous, yet real spaces to have bits and pieces of found objects floating through their midst or
deeply planted in their environment. That is why I use window screening, different kinds of hardware nuts and bolts, and parts of
decorative belts and jewelry, wire or any other fairly flat metal or plastic pieces to emboss in my printing plates to create these
compositions.
Abstract Landscape is my main focus using various printmaking techniques.
I try to imagine what’s between Earth and other solar systems, what’s between our familiar “above ground” and what is deep
below us, even what’s going on in cyberspace in the world of communications, a place of seemingly ephemeral existences.
I envision these abstract, ambiguous, yet real spaces to have bits and pieces of found objects floating through their midst or
deeply planted in their environment. That is why I use window screening, different kinds of hardware nuts and bolts, and parts of
decorative belts and jewelry, wire or any other fairly flat metal or plastic pieces to emboss in my printing plates to create these
compositions.
Shifting Strata II, 25 x 21, printmaking,
accepted 2006 Spring-Summer show
accepted 2006 Spring-Summer show
Spare Parts I, 21 x 25, printmaking, accepted
2006 Fall-Winter show
2006 Fall-Winter show
Found Between Here and There IV,
25 x 21, printmaking, accepted
2006 Spring-Summer show
25 x 21, printmaking, accepted
2006 Spring-Summer show
Music of the Spheres I, 25 x 21, printmaking,
accepted 2007 Spring-Summer show
accepted 2007 Spring-Summer show
A Matter of Light I, 21 x 25, printmaking,
accepted 2006 Fall-Winter show
accepted 2006 Fall-Winter show
My work has also been influenced by my study and admiration of Asian woodcuts. Their distinctive colors as well as their calligraphic lines have inspired me to
make relief intaglio prints. Rather than using the traditional tools of a woodcutter, I carve plates of plastic, plywood, and masonite with a dremel, an electric
rotary hand tool. The use of multiple bits enables me to etch different kinds of lines.
The relief portion of my prints is inked with a large brayer. Smaller brayers are used when I cut out stencils.
make relief intaglio prints. Rather than using the traditional tools of a woodcutter, I carve plates of plastic, plywood, and masonite with a dremel, an electric
rotary hand tool. The use of multiple bits enables me to etch different kinds of lines.
The relief portion of my prints is inked with a large brayer. Smaller brayers are used when I cut out stencils.
Botanical Mechanics I, together they are about
24 x 33, monoprint diptych, accepted 2008 Spring-Summer
show
24 x 33, monoprint diptych, accepted 2008 Spring-Summer
show
Mechanical Banter III, Print Making,
accepted 2007 Fall-Winter show
accepted 2007 Fall-Winter show
Within our Grasp II, Print
Making,accepted 2007 Fall-Winter
show
Making,accepted 2007 Fall-Winter
show