Indirect Magic: Working with Linocut with T. Klacsmann
August 9 - August 13
Indirect Magic: Working with Linocut – T. Klacsmann
Dates: August 9 – 13, 2021
Tuition: Sliding Scale $300-1200
Lab fee: $75
Class limit: 5
Relief carving is a demanding and time-consuming technique historically valued for its capacity for intricate detail and high reproducibility. I describe it as “indirect,” firstly, because, like all printmaking, the final image results from contact with an intermediate surface, the block, rather than from direct action of the artist. Secondly, relief carving in particular is at a remove from the gesture of the artist because the positive areas in the final image result from inking material left behind after the removal of block material. Therefore it is not the material that has been acted upon, but the untouched material that leads to the final marks on the page. Because it involves removing material, precision, commitment and careful planning can all contribute to successful relief prints.
We will create a relief print, taking a linocut block from conception to final printing with a focus on carving discrete objects, animals, or figure that can be “cut out” from the surrounding block. I will demonstrate how both the carved portion and the remaining block material can be inked and printed together to create a complete composition without masking or registration. I will also cover the safe use of and care for tools, a variety of options for image transfer, and block preparation. Each participant will have up to 18 x 12” of block material available, and we will carve and print a moderately sized (up to 9 x 12”) linocut. Based on each students’ vision, we can then explore options such as: shaping the plate, exploring narrative with the addition of a second shaped plate, and/or printing block to block to create a mirror image block and print. I will discuss ink, paper, and printing options. By the end of the course, each participant will have carved and printed a linocut block, gained an awareness of a variety of strategies for carving relief prints, and explored some of the many possibilities for creating a finishes prints using these versatile blocks.
Because the level difficulty varies widely based on the ambitiousness and complexity of the block attempted, this course is appropriate for beginners or those with some experience.
Loving beauty more than efficiency, T. Klacsmann first meticulously carves each living thing that appears in his work in wood or linoleum. Some of the resulting relief prints are further developed with paint, ink, and color pencil to become mixed media collages or parts of room-scale installations; other prints are scanned and layered using graphics software to become digital collages. His work represents the uneasy feeling of discovering beautiful life forms in an unsettling environment. His collage, “Nocturne #1” received the 2014 Medal of Honor in Mixed Media and Walinska Memorial Award from the National Association of Women Artists. His work “Self-portrait as Queen of Bluebirds” was a semi-finalist in the 2016 Outwin Boochever Portrait Competition held by the National Portrait Gallery.
He completed certificates in Green Printmaking at Zea Mays Printmaking, and Graphics and Animation at University of North Georgia; an MFA at Johnson State College with the Vermont Studio Center; a Masters of Art History at the University of Glasgow with Christie’s Education; and a BA at Yale University. His work has been shown nationally and internationally and is included in the permanent collection of the Albany Institute of History and Art, the flat files and archives of Zea Mays Printmaking and the Miriam Shapiro Archives at Rutgers University. He has been an artist resident at Vermont Studio Center, Virginia Center for the Creative Arts, Hambidge Center for the Creative Arts and Sciences, and the Women’s Studio Workshop.