BE MINE Collaborations between Writers and Artists at the U of A Poetry Center

SHOWING FEBRUARY 2012

RECEPTION Monday, February 13, 5:30 to 7:00 pm

1508 E. Helen Street | 520-626-3765 | M 9am to 8pm TU/W 9am to 6pm TH 9am to 6pm F 9am to 5pm SA 10am to 2pm

A LITTLE MYTH, text by Jane Miller, image by Valyntina Grenier, 30” x 23” Giclee print on Arches watercolor paper edition of 4, $350 framed $200 unframed.

The love poem was a gift from Jane for our anniversary. The image in the background is from “Valentine,” a 65” x 43” acrylic painting on paper I made in 2009. The roses in the foreground were a valentine from me to Jane in 2011.

TOOL METAL WOOD INK PAPER

TOOL METAL WOOD INK PAPER: WORK FROM THE DRAWING STUDIO PRINT SHOP Saturday at 12:00pm - June 11 at 4:00pm 33 SOUTH 6TH AVE. Tucson, Arizona
CAZED BEACH COMBER Jennifer Clarke

OPENING RECEPTION SATURDAY JUNE 4TH 6-9PM
SECOND SATURDAY DOWNTOWN JUNE 11TH 6-8:30PM

Jennifer Clarke | Jeanne Davenport | Diana Davis | Rainy Day | Lynn Fleishman | Miri Fleming | Valyntina Grenier Genevieve Guadalupe | Tom Lindell | Joe Marshall | Danny Martin | Roger Parish | Diane Pollack | Genevieve Rothkopf | Andy Rush | Gerrie Young

FAMILY Encaustic | Watercolor | Fiber Art | Intaglio Prints

This collection of artwork explores the notion of family.  The portraits of women were inspired by a photograph of my maternal great-grandmother and are named with the first or middle names of my grandmothers, HARRIET . The fiber art pieces represent the characters of my mother, father, and sister. I include myself as well in KIMBERLY’S VALLEY .

The encaustic works use minimalist figures to represent forms of life.  The color encaustics share a family of marks that explore transparency, counting, and the arc of a celestial body, TRANSLUCENT MOON . The series titled NO ON PROP 8  was made in response to the anti-gay marriage proposition passed in California. DATE NIGHT brings up our desire to couple, as well as our need to continue a romance after marriage and family. Methods are married and images and ideas couple across media.

There is a correlation between the scape-ness of the abstracts that are made with paint, UPRISING  and the scapes that come together by stitching together strips of fabric. Actual stitching in fiber art becomes metaphoric in the abstract painting, STITCHED IN TIME . I began working with the slash, or line, after using blades of grass as relief objects in the intaglio prints SHIPWRECKED CRYSTALS and NO ON SB 1070 . With INCEPTION , I use a single line to indicate the beginning of life.

Methods and materials from one medium give birth to a new combination of figures in another. The pieces entitled MY PAGER’S IN MY OTHER PANTS are children of a sketch I began working with in 1998 . In turn, those figures are parents of the series, AUTOPOIIESIS . They have found their way into NO ON PROP 8,  DATE NIGHT, and more subtly but significantly into BREE’S PARTY and CHUCK’S OUTLOOK . I work serially because it offers possibilities for making family.

For sizes and prices have a look at NOW SHOWING

backroomlive.wordpress.com | lifelongpress.blogspot.com | harriethomemaker.wordpress.com

Autopoesis 4 Showing in Oakland Ca July 1st-31st 11:00am-Midnight 4799 Telegraph Ave

Autopoesis 4 Valyntina Grenier

To live in an autonomous way, living systems need to obtain resources from the environment in which they live. They are simultaneously autonomic and dependent. In other words, elements in an autopoetic system are, at the same time, producer and product.

I use the term “autopoesis” to illustrate that each piece is a system in itself and, in context with one another, part of a larger system. Because of the symbolic nature of the forms, they are also dependent upon a relationship with the viewer, who becomes an integral part of the production.

This is my fifth and final annual show at Lanesplitter, Temescal. Please join me for a reception on July 26th from 6-9pm.

If you would like to view more of my Artist Proofs or paintings, please contact me at lifelongpress@gmail.com .

American Marriage Triptych Encaustic each 9″ x 9″

$300 for the set  (Individually $150)

My Pager’s in My Other Pants  Encaustic 8.25″ x 5.5″ $150

My Pager’s in My Other Pants  Intaglio print 14.5″x11.5″ on Rives BFK paper

Framed $150  Unframed prints available $30

The initial sketch for this print, editioned at 100, was composed during an art history class in 1998. It is titled after a mixed tape made by the writer Lucas Champagne, which I listened to while composing Autopoesis 2, my second annual show of paintings at the Lanesplitter in July, 2007. This print is pulled from a 6″ x 4.25″ zinc plate, etched with traditional methods, using a hard ground, stylus, nitric acid, and drypoint.

Kandinsky’s Coffin  Intaglio print (Artist Proof) 20.5″x16.5″ on Rives BFK paper

Framed $200 A limited number of unframed artist proofs available $150

This Artist Proof is pulled from a 12.25″ x 9″ zinc plate. It is etched entirely with non-toxic methods. The line work and stippling were made using various dental tools, a stylus, and an irregular rotary tool. There is also engraving. Some foul bite is visible.

Che’s  Intaglio print 11.25″ x 9.25″ on Rives BFK paper

Framed $100  Unframed prints available $30

This print, editioned at 100, is pulled from a 4.75″ x 6″ zinc plate, using a traditional sugar lift through a hard ground. The etching was done in copper sulfate. Some dry point is also visible. Che’s is a bar in Tucson, Arizona. I have been working on a series of 6″x6″ drawings in color pencils of the bar’s interior since February, 2009. The line work on this plate was composed freehand from memory.

Che’s Lounge  Intaglio print (Artist Proof) 11.25″ x 9.25″ on Rives BFK paper

Framed $150  A limited number of unframed artist proofs available $100

Che’s is a bar in Tucson, Arizona. I have been working on a series of 6″x6″ drawings in color pencils of the bar’s interior since February 2009. The line work on this plate was composed freehand from memory. This Artist Proof is pulled from a 4.5″ x 6″ zinc plate. The image was made using  sugar lift and drypoint. It was etched in copper sulfate.

Shipwrecked Crystals  Intaglio print 9.25″ x 11.25″ on Rives BFK paper

Framed $100  Unframed prints available $30

This print, editioned at 100, is pulled from a 4.5″ x 6.25″ zinc plate. The etching was made with nitric acid using a soft ground technique, applying  blades of grass and recyclable produce netting.

Change Is My Savings Plan  Intaglio print (Artist Proof) 11.25″ x 9.25″ on Rives BFK paper

Framed $150 A limited number of unframed artist proofs available $100  A limited number of unframed mixed media prints w/ graphite $300

The phrase “Run Every Sense” is from Aretha Franklin’s version of “A Change is Gonna Come.” I’ve also composed a feminist anti-war poem, “Change Is My Saving Plan,” whose lexicon is derived from Act 1, Scene i of Shakespeare’s Hamlet. This Artist Proof is pulled from a 6″ x 4.75″ zinc plate, etched with traditional methods using a hard ground, stylus, and nitric acid. The aquatint was made with non-toxic methods and etched in copper sulfate.

Both And  Intaglio print (Artist Proof) 11.5″ x 14.5″ on Rives BFK paper

Framed $175 A limited number of unframed artist proofs available $130  A limited number of unframed mixed media prints w/ graphite $300

This Artist Proof is pulled from a 6″ x 7.25″ zinc plate. The title “Both And” is from Freud’s Interpretation of Dreams. The symbology in the bottom corner was made using a spit bite with nitric acid and first appeared in my acrylic series, “Subconscious Translation of the Binomial Theorem.” The line work was etched using a traditional hard ground, stylus, and nitric acid. The plate was also treated with a non-toxic reticulated wash and aquatint, both etched in copper sulfate. Some foul bite is also visible.

Inception Intaglio print (Artist Proof) 11.25″ x 9.25″ on Rives BFK paper

Framed $150 A limited number of unframed artist proofs available $100

This Artist Proof is pulled from a 6″ x 4.5″ copper plate. It is etched entirely with non-toxic methods, using the techniques of reticulated wash, drypoint, and stippling. Foul bite is also visible.

Modern Ruin  Intaglio print (Artist Proof) 9.25″ x 11.25″ on Rives BFK paper

Framed $150  A limited number of unframed artist proofs available $100

This Artist Proof,  pulled from a 4.5″ x 6.25″ zinc plate, is a result of my desire to approach a blank plate without any preconceived notion of what to do to it. Using a traditional hard ground technique, the line work was made with a stylus and various dental tools and etched in nitric acid. The gray tones are a result of a non-toxic aquatint etched in copper sulfate.

Kore Press Annual Benefit Auction is back!

Left to right: Valyntina Grenier, Ellen McMahon & Valerie Galloway!

Silent Art Auction & Garden Party MAY 30TH 2010

Tickets are $5 in advance, $10 at the door, which includes auction and garden party admission, eats and drinks by “Gallery of Food” and music by sound sculptress Vicki Brown! Come bid on pieces by the hottest artists from Tucson and elsewhere. Various other sundry items will be auctioned as well. Please RSVP by May 26!

Participating artists: Valerie Galloway,Elee Oak, Ken Rosenthal, Lisa Robinson, Annie Guthrie, Ann Simmons-Myer, Patricia Katchur, Valyntina Grenier, Jude Clarke, Ellen McMahon, Wil Taylor, Gregory Sale, Rand Carlson, Eva Harris and others!

Go to www.korepress.org to place a bid or/ and buy tickets!

PICK UP THE PIECES

VIEW THE WORK ON LINE!