“BIG” Washington Printmakers Gallery Exhibition Reviewed in the DisCerning Eye
Several gallery members’ works from WPG’s recent “BIG” exhibition were highlighted in a thoughtful, thorough review published in the DisCerning Eye by long-time DC art critic Mark Jenkins. Lead comments and imagery were based upon works by Deborah Schindler and Matina Marki Tillman, who both employ strong contrast, tonal richness, and fine detail in their traditional, hand-pulled black and white prints. Meticulous, detailed work in Schlinder’s linocut playfully reveals dancing silhouettes inside crisp lettering. In Tillman’s solar plate etching the integral of a varied crowd, with over 100 figures shown in all aspects of life, contrasts with the density of a single figure departing.
“Tic-Tack Tango X’s and O’s” - Deborah Schlinder
“Density” - Matina Marki Tillman
Themes of flowers and nature were some of the main forces in the exhibition, presented in multiple ways. Nina Muys participates with a bold, 3-plate floral monoprint, with vivid watercolor-like flowers. The storytelling of Rosemary Cooley’s flowers in her monoprint quartette is narrated by a softer color palette, accentuated with fine gold details. From the photographers’ angle, Claire Wright contributes a spectacular aerial photograph of an autumn forest where the prominent organic forms illuminate the simple curved line of the road.
“Firework” - Claire Wright
“Quattro Fiore” - Rosemary Cooley
On the abstract side, Susan Wooddell Campbell gives texture to her painterly monotype with colored pencil strokes. Kristine DeNinno’s scroll-like, 2-plate monoprint brings forward strong textured elements in an overall subdued environment. The multi-layered combination of Barbara Bitondo’s botanical monoprints and monotype, with cyanotype, suggests a sense of depth and evokes inner and outer landscapes.
“Enfranchising Women” - Kristine DeNinno
Consistent with the large-format theme of “BIG,” two three-dimensional pieces, experimenting with different textures, media and techniques are included in the review. Suzanne Bartlett layers printed gauze over photographs to create a strongly-textured piece in her perception of a mythical figure. Ron Meick’s sculptural construction prints directly on wood, and joined with brass screws, gives printmaking another dimension with one of the largest pieces in the show.
“Pathways of a Static Construction” - Ron Meick
To read the full review, visit the DisCerning Eye by Mark Jenkins (fourth review). The entire exhibition may be viewed here.