May 042020
 

Here’s my quote of the day:  ‘Art is never having to say you’re sorry.”  Laurie Mackie  

I love the light hearted in such a heavy time.  I draw on my Samsung Note and post some of these quick sketches on my Instagram account @onehundredbirds

You can also follow my studio practice and current work on Instagram @lauriemackieeditions.

If there’s an upside to a pandemic, it’s more studio time!  There are very few distractions taking me away from the studio these days.  I’m working with web designer Leigh Lundgren to update my site.  Sifting through my painting stacks I’ve pulled out these two pieces.

Power of Pink 36 x 48″  acrylic on canvas

Three Ways 36 x 48″ acrylic on canvas

These pieces, and more, will be on my new site.  I’m excited to finally be getting to this time consuming project.  And it’s great to be looking at my older work in context of the current pieces.

Hope you’ll stay in touch.

Feb 272020
 

CELEBRATING 30 YEARS OF WEST COAST PRINT CULTURE

 

February 29 – April 4, 2020 (Opening Reception, February 29, 3 – 5pm)

Victoria Arts Council, 1800 Store Street  Victoria BC Canada

Beyond The Archive exhibition at the Victoria Arts Council Gallery was conceived in celebration of the 30th anniversary of Ground Zero Printmakers Studio (GZPS).

The exhibition brings together prints from the GZPS archive and newly created ‘response’ prints by current GZPS artists arising from an investigation of the historical work. Using our archived print collection as a point of reference, artists were invited to create new works, a visual dialogue with their GZPS predecessors.

Since its inception in 1989, GZPS has hosted hundreds of artists and students.  They produced prints as an occasional, project based, or central core element of their creative practice.

Print studios have a tradition of collecting works produced in-house, stemming from the capacity of printmaking to produce multiple originals, or editions. Over the past 30 years, GZPS has collected an extensive and valuable Print Archive.

Beyond The Archive provides a powerful opportunity to showcase the rich 30 year history of GZPS and the diversity of creative imagination in contemporary printmaking in the region.

Join GZPS members in a ‘hands-on’ celebration of the hard-won expertise, creative intent, and plain work involved in sustaining an Open Studio for future artist-printmakers.

The exhibition will feature a display of GZPS historical artifacts, posters, photos, objects, and tools, from the four different locations of its 30-year history.

We invite all to the opening reception, artist’s talks, and Q & A demos, and to the neighbouring GZPS studio located in the historic Chinatown district of Victoria.

 

“We visit museums to see the works of ‘the masters’, we study art history, we read about artists that capture our imagination and we go to galleries because we are curious about historical artwork and that of our contemporaries.”

M. Mottishaw, GZPS Member 2019

 

“Everyone works collaboratively. That is why society exists.”

 Painting by Numbers, Vitaly Komar and Alexander Melamid

 

“At the heart of this project is the artist’s investigation into their deep connection to all other artists and histories.”

Victoria Edgarr

Director GZPS

groundzeroprint.com

GZPS is a print shop with Open Studio facilities for producing hand-pulled original prints.

 

Mar 072019
 

The Burnaby Art Gallery will be showing my print work at their satellite gallery, Bob Prittie Library Metrotown, 25 March to 27 May.

I am delighted to have the opportunity to show these prints.  Most of them are, literally,  hot off the press.

Here are a few of the Sewing Lessons themed hybrid prints that will be on display on the 2nd floor gallery.

Number 5  a/p  21 x 22 in. a/p

serigraph, monoprint

The Sewing Lessons project began in 2014 with an installation piece.  It’s really got a hold on me, and I’ve since produced many works related to this theme, including sculpture and painting.

Sewing Lessons 1  1/5  20 x 21 in.

This print is part of that installations piece I did in 2014.  (Check out my post on April 2015 for more information.)

It’s photo etch on copper plate.  That pattern provided a matrix, both materially and metaphorically,  for many other prints.

I’ll be showing this piece, plus paintings, and sculpture, at Xchanges Gallery, Victoria, 3 – 19 May 2019.   The show is called Sewing Lessons, of course..

The installation opened the door to experimenting with other technologies for plate making;  cnc engraved and laser etched plates.

Or E – Back A  a/p   22 x 22 in.  cnc engraving, chine colle, monoprint

The matrix for this print is a cnc engraved plate.  I added two types of chine colle, and copper foil.

Cut 1  11 x 15 in. 1/1/15  laser etching, chine colle, and monoprint

This matrix for this piece was a micro view of a photo of tree bark.  I converted it into an image that was laser etched on lexan plate.  It’s a tricky process, as the laser can melt the plate.

Contrast AB  8 x 10 in.  1/1/15 cnc engraving, chine colle, monoprint

This plate was made using cnc and engraved on lexan on an xy table.  It’s based on a photo of my sewing machine.

I’m very excited about my direction in hybrid printmaking.  I’d appreciate your comments or question about my work.

Sewing Lessons:  Hybrid Prints

Bob Prittie Library 2nd floor  25 Mar to 27 May 2019

More information in Preview, a magazine guide of galleries and museums.

Nov 212018
 

Inspired by Textile

This recent painting reflects my love of textile. I’m inspired by traditional fabric and have developed an unusual collection during my travels.

The theme of my big studio project, Sewing Lessons, is the metaphoric thread that leads through my recent works on canvas.  It’s only recently that I’ve noticed and acknowledged this strong connection.  I’ve given myself permission to enjoy the conversation on canvas.

Sewing Lessons is a large body of work that encompasses printmaking, painting, photography, and print installation.  It’s been in the works for about four years.  I’m now preparing to showcase my labours at Xchanges Gallery, Victoria,  in May 2019.  The print work will be on display in Burnaby at the Burnaby Art Gallery in their satellite space, at Bob Prittie Library, 2nd floor, Metrotown, starting in March 2019.

In the paintings that follow, I use pumice to create texture and carve into the surface. I’ve been working on this piece for a year. This is the third iteration, and it’s finally done. It lay dormant, and hung where I could see it everyday.  Putting Smile aside in the spring, I worked on prints and sculpture for Sewing Lessons.  Last month it went back on the easel for final touches.

Smile  2018 36 x 48 ” acrylic and pumice on canvas

Below is more work taking a cue from textile.

Verge 2015 36 x 48″  acrylic and pumice on canvas

The Blues 2014 36 x 48″ acrylic and pumice on canvas

Off Macaulay Point 2012 36 x 36″  acrylic and pumice on canvas

Big Red  2013 36 x 48″  acrylic and pumice on canvas

I plan to start another canvas immediately.  I’m energized by my new approach to the work, appreciating the strong link between the tradition of fine textiles and my painting.

 

 

 

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Aug 182018
 

Beginnings:  CNC Engraving

These latest small hybrid prints are part of Sewing Lessons, a large printmaking installation project I will exhibit at X Changes Gallery here in Victoria , May 2019.

The project has taken on a larger than life scope over the past 3 years, and led me into the exciting world of hybrid printmaking.

This method of engraving polycarbonite plates is done by converting a lens based image with a computer program.  Then CNC table engraves a line image on the plate.

Sewing Lessons:  A Well Oiled Machine

This new print for my installation are based on a photo image of my first sewing machine. Other methods used in the print are emboss, chine colle, and monoprint.

  The Lace Makers

The engraved lace pattern on this plate sits on the right.  I added carborundum, and pronto plate chine colle.

Cut One 

A CNC laser engraved plate has a fabric-like pattern that supports the chine colle pattern pieces.  The bottom of the print is embossed with more chine colle.

Just bought this excellent book, Post-Digital Printmaking, by Paul Catanese and Angela Geary.  Everything you wanted to know about post digital printmaking but were afraid to ask.