This week I visited École Dollard-des-Ormeaux.  I gave 12 workshops to 240 students over 4 days.  It was Semaine des Arts.  The spotlight was on Africa.  A musician gave percussion workshops while my students created prints inspired by African masks.

Kindergarden student

After showing my early series of woodcut prints, I demonstrated how to hand print a linocut with a spoon.  The younger the audience, the louder the oohs and aahs.  Often as I lift the printed image from the inked plates before many pairs of incredulous eyes, I am treated to a hearty round of applause.  After observing images of African masks, each student engraves a styrofoam plate and creates a print inspired by our theme.

Inking styrofoam plates

Through the years I have streamlined the elementary school workshop to adapt it perfectly to the 60 minute format.  I pride myself on keeping entire groups stimulated, curious and busy up to the last second before the bell rings, never going overtime.

Signing and numbering prints

Interacting with students is a joy.  I asked a grade three class if they have artwork on the walls at home.  One boy told me about a painting of horses galloping in fields, with flowers and a barn.  “One horse is white and the other is black,” he added.  A girl told me that her family has a big painting of the Red Square hanging in the living room.  The teacher told us about her limited edition Norman Rockwell print, a winter scene bought at an auction.  Everyone described these images with fondness and pride, demonstrating how strongly we identify with art.

Kindergarden and Grade two students

When a new  group walks into  my class, I scan the unknown faces, watch them settle at their tables and try to guess who will produce original work.  240 students tend to become a bit of a blur and in the halls it is they who recognize me.  I get spontaneous hellos, waves, smiles and even leg-level hugs from very little girls.

The children who manage to stand out in my mind are those who break the mold…and sometimes my patience!  One grade two boy was chock-a-block with questions, never related to the present situation, always in anticipation of what lay ahead.  He was also the student who persisted the longest at his print, paying attention to detail and texture, just as I required.  As he observed his print, he said, “I think there’s an artist in me!”  When I saw him in the hall on my last day, his blue eyes gleamed behind his glasses and he said,  “I so much want to make another one!”  At that point I knew my mission was accomplished.

Talleen Hacikyan

I saw the charming building that houses the Printmaking Center of New Jersey (PCNJ) for the first time on Friday the 13th of April, 2012.  After a pleasant morning drive through quaint villages and rolling green hills, Irena Pejovic pulled her car into the parking lot of 440 River Road in Branchurg and announced, “Here we are!” I felt lucky to be there, about to teach in this award-winning center that has been encouraging the fine art of printmaking through exhibitions, education and open working studios for the past forty years.

I discovered PCNJ last winter when Irena contacted me after having read my blog, Printmaking Studios in New York. She prints at PCNJ and serves on the board of directors.  When I visited the center’s website I was struck by their involvement with the community. I was particularly impressed with the Combat Paper Program, where veterans transform military uniforms into handmade paper and then into healing works of art.

PCNJ’s education department also grabbed my attention when I saw the vast selection of interesting workshops offered to adults and children.  Little did I know that a few months later, the list of adult classes would include Introduction to Collagraph with Talleen Hacikyan.

I taught my intensive two-day workshop to a group of five women in PCNJ’s sun drenched etching studio.  This functional space is well organized and pleasant to work in. I especially enjoyed working with their Charles Brand etching presses, that operate with a hand-cranks that turn like butter.  It was a bonus to have Irena in the class, who was my efficient assistant, setting up presses, making registration templates and showing me where to find things.

Students worked intensely.  On Friday they made small plates where they explored many collagraph techniques: drypoint, carving, ripping, collage, carborundum and creating textures with acrylic gel and plaster.  Before the end of the day everyone printed one black and white print and was able to leave with a concrete idea of their day’s work.

Carborundum plate by Irena Pejovic

Collagraph with aluminum foil textures by Linda Bishara

Collagraph with plaster textures

Saturday was printing day. Students had plenty of plates with which to practice the inking and wiping techniques I showed them.  One student came to class with a pile collagraph plates she worked on at home until midnight the previous night. “I want to get my money’s worth!” she told me with a beaming smile. After students printed some black and white proofs, I explained the basics of color printing, and everyone started playing with rich hues, blending them together on their heated plates with tarlatan.

Irena Pejovic with her collagraph proof

The class ended with a tabletop exhibit of everyone’s work.  After a round of constructive and encouraging comments, I left them with one of my favorite tricks passed on to me from a master printer.  I showed how to “erase” undesirable ink marks from the margins of a wet print with a damp sponge.

Linda Helm Krapf, executive director of PCNJ, stepped into the positive energy that filled the studio as we enjoyed the displayed prints.  She looked at everyone’s artwork and exclaimed, “Collagraph rocks!” Linda marveled at how the direct, uncomplicated  methods of collagraphy yield such alluring results.

After the workshop I went upstairs to the gallery for the opening reception of  The Best of Experimental Printmaking Institute. I admired the striking prints and outstanding artist’s books from EPI at Lafayette College in Pennsylvania.  This unexpected treat was the perfect way to end my visit to the Printmaking Center of New Jersey.

Talleen Hacikyan

Thank you Linda and Irena for making this visit possible.   

Brique Collage series, 128 x 98 cm each, 2002

The term collagraph is derived from the Greek word koll or kolla, meaning glue and graph, meaning drawing.  In the 1950’s, collagraph became accepted as a legitimate printmaking technique, largely due to the abundance of work produced by Glen Alps, a printmaking professor from the University of Washington, in Seattle.  Elementary collagraphic techniques can, however, be detected in 19th century prints.  The development of collage as an art form in the early 20th century also led to collagraph printing.

Lifesaver, collagraph, 38 x 28 cm, 2005

Collagraph is a printmaking technique where various materials can be glued to a plate.   Paper, fabric, leaves, egg shells, coffee grounds, carborundum powder, plaster and acrylic gel medium are some examples of materials that can be used.  The plate-making process is entirely non-toxic.  Collagraph is a direct approach to printmaking, allowing for spontaneous work, while providing the possibility of creating more complex pieces.

Mother Zeppelin (detail), collagraph, 170 x 110 cm, 2008

The base plate can be cardboard, wood, Masonite, Plexiglas or metal.  Lines and textures can also be engraved into plates. The plates are printed in intaglio with an etching press.  This method can be combined with relief printing by applying ink with a brayer over the textured plates.

Animal Mask, collagraph, 38 x 28 cm, 2009

I have been making collagraphs for twenty-five years.  I work on a high density cardboard that I prepare with acrylic medium, yielding durable plates.  I generally make editions of 40, however, I have made two editions of 100 each, by touching up plates along the printing process.

Artist's books, collagraph, 2009

Collagraph is a flexible medium, lending itself to experimentation. Over the years I have explored two-plate color printing, cut-out plates and large formats.  I have also incorporated collagraphs into my papier mâché sculptures and one of a kind artist’s books.

Little Black Dress, papier mâché, wire, collagraphy on Japanese paper, 61 x 31 cm, 2011

Although I use a wide variety of materials, I keep returning to plaster.  I use premixed drywall joint compound.  Not only is it inexpensive, it does not break under the pressure of the press. Typically I apply the compound with spatulas, shaping it into place with swift movements.  Once dry, I often engrave into the compound with a drypoint. It is also possible to imprint objects into the compound.  Recently I discovered a way to make bicycle tire prints.

Traces du va et vient, collagraph, 56 x 76 cm, 2012

I learned the fine art of collagraph at Atelier Circulaire in 1987 from French master printer and artist, François Xavier Marange. François Xavier worked at Leblanc, Lacourière-Frelaut and Maeght studios in Paris, where he printed for great artists such as Miró, Tapiés and Zao Wou-ki.  In France, artists were making collagraph prints with oil based, toxic varnishes.  In Montreal, Francois Xavier experimented with local, non toxic products with a view to producing a durable plate that could create a full range of subtle printed effects.

After twenty-five years of pushing this technique to new places I can say with conviction that collagraph is my printmaking medium of choice.

Talleen Hacikyan

All artwork by Talleen Hacikyan

There’s no feeling that compares to entering 5445 de Gaspé, in Montreal’s garment district.  In winter there is the immediate relief from the bitter wind that invariably rages on the street, playing havoc with my oversize portfolio-wanna-be-kite.  On any given day, however, despite the season, there is always a sense of well-being that overcomes me as I press 5 in the elevator, intensifying the instant I see the turquoise door of Atelier Circulaire.

My private space within the communal studio is my haven.  Surrounded by my work on the walls and work in progress I feel whole.  The outside world disappears for a few precious hours as I get to the task of creating art. I usually have a few projects going at the same time.

Internal Evidence, papier mâché, wire, shredded journal, hand printed Japanese paper, 2011

I’ve been working on papier mâché dresses and shoes that I collage with printed Japanese paper.  Last week I hand printed a fish on a large piece of ivory Kozuke paper.  That morning I went to small fishery on Park Avenue for my day’s catch.  I asked the fishmonger, stylishly clad in rubber boots and a wool tuque, if he happened to have any fish that was slightly too old to sell.  After he replied, “Non, non, on a pas ça,” with a touch of pride in his portuguese accent, I told him I’d settle for a fresh hand-sized fish with big scales.  He showed me a few specimens, resting in peace side by side on crushed ice and after running my fingers over a few, I opted for a Doré rose.  At the studio, I inked the poor, albeit oblivious fish, and printed repeated patterns on my Kozuke.  I worked fast, to spare my studio mates of the fishy order that lingered as my piece advanced.  The next step will be to use this paper to decorate one of my dresses.

Acrylic paint and shredded journal on two-by-fours, 2011

Yesterday in my private space, I painted on wood panels.  I worked in the same vein as the totems on the wall, made from recycled two-by-fours, combining acrylic paint and collage.  One of the elements I’m using for collage is my journal, passed through a paper shredder.  It is a cathartic feeling to shred my past and transform it into decorative elements that contain cryptic messages that can be rearranged and highlighted by taking them out of context.  Yesterday in my pile of shredded feelings I found the words, Budgie in a green jar.

Detail of fish print on Kozuke

My studio is a place where I can bask in creative energy.  This is where I can shred my journal, print fish, mold papier mâché shoes over my feet, engrave erasers, dip a dress into a bucket of plaster.  This is where I color my world.  This is where I get to the serious business of playing.

Talleen Hacikyan

Lower East Side Printshop. 

My first stop was Lower East Side Printshop.  Founded in 1968 the Printshop moved to its present location in 2005. With over 160 artists served each year, it claims to be the largest printmaking studio in the U.S.

The studio is located on the 6th floor of an industrial building facing West 37th Street.  It offers 4000 square feet of workspace. Christine Walia, programs director, gave me a tour. The shared Artists’ Studio, open 24/7, struck me as a well-organized, functional place.  It was a quiet morning, with artists’ belongings tucked neatly onto designated shelf space.  The workshop has facilities for intaglio, relief, monoprint, waterbased silkscreen techniques, photo and digital processes.

Lower Eastside Printshop.  Gallery.

There is also a Collaborations Studio, where a couple of artists in residence were working. In another section of the studio there is a small gallery and office space.  I browsed through some portfolios and chatted with Chirstine. I left with the impression of an efficiently run studio.

My next stop was Manhattan Graphics Center, an artist-run printmaking studio, a few blocks away.  The workshop was bustling.  In contrast to Lower East Side Printshop,  Manhattan Graphics Center  is administered primarily by key holders.  Key holders are members who monitor the studio and do chores for four hours a week in exchange for access to the studio when it is closed and for tuition discounts.  The monitor on duty was a bubbly artist, bursting with enthusiasm as she showed me around.  There was a workshop in progress and the space was infused with a creative energy all too familiar to me.

Manhattan Graphics Center 

The studio is equipped for etching, lithography and silkscreen, with a darkroom and an exposing room.  There is also a gallery and seminars area.  The workspace is compact, set up in a long area.  Judging from the artists at work, it looks functional and pleasant to work in.

Manhattan Graphic Center 

The monitor showed me some of her monotypes and I spoke with Robin Dintiman, a collagraph artist, who also teaches at the workshop.  She had two collagraphs in the members’ show.  The one that caught my eye, was made with an impressive five plates, and still managed to convey a sense of lightness and transparency.

I left after a round of jovial goodbyes and directions to Robert Blackburn Printmaking Workshop, again conveniently located a hop away.  Who knew Manhattan would be so easy to navigate?

Robert Blackburn, an African American artist, founded the studio in 1948.  At Robert Blackburn Printmaking Workshop, I was greeted by Connie, a soft-spoken, monitor. An artist worked in the far end of the studio as Connie explained the ins and outs of daily functioning.  While the studio features all the traditional facilities, I was particularly impressed by the digital lab that boasts four of the latest iMacs, CS5 and a large format Epson inkjet printer. The studio also has a small room reserved for contract printing.

Robert Blackburn Printmaking Workshop

The highlight of my visit was the member’s show at the gallery, a few floors up.  In the mid-sized gallery, the walls were lined with prints, reflecting a variety of styles and techniques.  There was also a table with a fun assortment of artist’s books.  I met Chris Dunnett, Workshop Manager.  A graduate of Nova Scotia College of Art and Design, Chris is a dynamic, articulate fellow, with a passion for printmaking.  He was giving a pep talk to a group of NSCAD students, giving advice on interning in printshops. I introduced myself and we all chatted for a while.  They had all heard of Atelier Circulaire.

Robert Blackburn Printmaking Workshop.  Gallery.

I left with Chris’s complex but impeccable set of bus and subway directions to get to the Print Fair.  On my way out, I stopped by the printmaking studio and picked up some of their wild pins, for my artist friends back home.  LITHOGRAPHERS DO IT ON ROCKS was not the raunchiest one!

Robert Blackburn Printmaking Workshop.  Pins.

I stepped onto 39th Street with a smile on my face and a pin on my jacket: PRINTMAKING ROCKS!

Talleen Hacikyan

October 31 to November 6, 2011 was print week in New York City. I did what any respectable, adventure-seeking printmaker would do. I hopped on a Greyhound bus and headed to the Big Apple.

My first cultural visit was the International Fine Print Dealers Association (IFPDA) Print Fair. The event was housed in the elegant Park Avenue Armory, known for its magnificent 19th-century interiors, including a veteran’s room and a library designed by Louis C. Tiffany.

Armed with my press pass, I entered the main exhibition hall and experienced two hours of bliss. The fair featured over 90 international art dealers from Europe and North America, all members of IFPDA. Notable dealers participating this year included Pace Prints, Marborough Graphics, Two Palms, David Tunick, Inc., The Paragon Press, Hill-Stone Inc., Gemini G.E.L. and Barbara Krakow Gallery.

The IFPDA Print Fair is the largest international art fair dedicated to exhibiting fine prints from all periods. There was a good balance of historical and contemporary work. I saw masterpieces by Albrecht Dürer, Rembrant van Rijn, Fransisco de Goya, Juan Miro, Pablo Picasso, Jasper Johns and Richard Prince, to name a few. Prices ranged from a few hundred to a few million dollars.

There was a smattering of red dots beside prints, mostly in the foreign exhibitors’ kiosks. The fair was teaming with sixty and seventy-something collectors making the rounds. I spotted mostly women and some couples. The women were smartly dressed in classical casual designer wear, usually black, offset with gold necklaces or colorful silk scarves, pacing the aisles in patent leather pumps, clutching their big purses with big bucks.

I enjoyed catching bits of conversations between collectors and dealers. “Put a red dot on that one.” “When can you have it shipped?” “I’ll use my wife’s checkbook, it’s easier.” Or referring to the frame that a dealer was trying to push, “I might as well take it. One less thing for me to do.” My favorite conversation took place between a woman and a dealer with whom she had a working relationship. Pointing to a black and white etching, the woman said, “I have that one.” Dealer: “No, you have a very similar one.” Woman: “I could go across the street (Park Avenue) to check. Of course you do know they all end up on the floor.”

Besides eavesdropping, I looked at the art. The interesting thing about viewing art in such a generous setting that overflows with images, is that certain pieces manage to jump out.

Robert Cottingham

As one enters the exhibition hall, Tandem Press welcomes visitors with An American Alphabet, a striking set of lithographs by American artist, Robert Cottingam. These alphabet prints are based on photos taken by the artist while traveling across the United States. While not highly original, these images emit the nostalgic aura of bygone Americana.

John Baldesari

My favorite piece was a mixografía print on handmade paper by John Baldessari, a contemporary American artist. A B C Art (Low Relief) Part II: PMBWFDLJ (Pangram). A pangram is a sentence that uses all the letters of the alphabet. The visual impact, whimsical message and impeccable execution caught my eye.

Sophie Calle

I enjoyed the work of Sophie Calle, a French writer, photographer, installation and conceptual artist. The Bronx is a set of 9 Iris prints with accompanied texts. Calle went to the Bronx and asked strangers to take her to their favorite place in neighborhood and to describe the significance of these locations to her. The stories are moving, well written, and with the photos create a revealing portrait of the Bronx. The cultural anthropologist and writer in me thrived on this piece. The gallery owner thanked me for reading each of the stories.

Damien Hirst

Damien Hirst, an English artist, showed Death or Glory, a series of two-color gold foil block prints of his trademark skull imagery. Foil blocking is a commercial process where a metal block is heated on a press and a metallic or colored foil is branded onto the material. The titles, such as Death or Glory Hazy Gold include the actual names of the gold pigments used to create the dazzling iridescent effects.

As with mixografia and foil block printing, the fair showed several examples of work executed in non-traditional printmaking techniques: luminescent prints, laserjet prints mounted on plexi, and stereoscopic prints. I also noticed an abundance of highly embossed prints, sometimes bordering on gaudy.

The IFPDA Print Fair is a fascinating destination. Not only does it attract high profile collectors, museum directors, celebrities and noted philanthropists, It draws its fare share of artists. As I left the exhibition hall I saw a sign: NO ART WORK LARGER THAN 3X4 FEET MAY BE CARRIED OUT THE DOOR. My empty hands hinted that I belong in the last category of visitors.

www.printfair.com

Talleen Hacikyan

Época V, Oil on canvas mounted on board, 60 x 48 inches, 2011

The paintings in Época are like game boards, with no start or finish, waiting for players to remix human and animal heads, with fish, gloves, bowls, umbrellas and knives, creating multiple scenarios with open endings. These elements interact quietly on the canvas, creating a brew of potent emotion. Like hieroglyphic characters, these symbols spell out messages, albeit subliminal, subject to interpretation.The repetition of certain forms such as the primitive human profile, becomes a mantra, creating a sense of harmony.

Era V, Oil on canvas mounted on board, 48 x 60 inches, 2011

In the Era series aquatic creatures float amongst vegetables and organic forms captured at different stages of gestation. Again, these paintings suggest possibilities of how life may develop. In Era V fish, bottles and heads are depicted on a textured surface, reminiscent of parchment. Like continents on an ancient map, these elements entice us to explore and discover. In Era XI a red chair, surrounded by radiant color, beckons us. It could be one of those paint-speckled chairs that one finds in artists’ studios. Perhaps it personifies the artist himself, reflecting on his paintings, deciphering their cryptic messages. The chair invites us into Lau’s world and entices us to bask in its warmth.

Época I, Oil on canvas mounted on board, 48 x 60 inches, 2011

Época & Era is an opportunity to step into the imagination of a constantly evolving artist. Manuel Lau comes from a successful graphic arts background. This exhibition, entirely dedicated to painting, marks his commitment to painting. It offers the promise of an era of treasures to come.

Talleen Hacikyan

At
HAN ART
4209 rue Ste-Catherine Ouest
Westmount, Québec, Canada H3Z 1P6

An exhibition catalogue is available.

Incoming, Circling, Allegory, Relinquishing, Unworldly, Sunward, linocut, 19 x 19 cm each, 2011

Icarus Series

After working on the large collective linocut, I wanted to make miniature prints. The small square format inspired letters. In this series, Icarus spells out his name with his body while narrating his story. This choreography of letters, like a graffiti writer’s tag, affirms identity and perpetuity.

Incognito, Celestial, Auberge, Ricochet, Oblivion, linocut, 38 x 28 cm each, 2011

Icaro Series

I created the Icaro series specifically for the ICARE 6 exhibition at l’Usine C. The Italian and Spanish name Icaro has an operatic ring to it that I found suitable for l’Usine C. I was also attracted to the graphic possibilities of the letter O, that inspired a lifesaver for Icarus. Other letters are formed with trees, the moon and the sea. These elements act as props on a stage for lyrical, dream-like scenes that contrast with the tone of the myth of Icarus.

I fell in love with printmaking in Monique Carbonneau’s relief printing class at Université du Québec à Montréal. When I graduated in 1985, I joined Atelier Circulaire, where I continued making woodcut prints for two years before exploring other print techniques and focusing on collagraphy. The ICARE 6 project let me reconnect with relief printing, my first passion.

ICARE 6 continues at l’Usine C until October 15, 2011.

Talleen Hacikyan

L’USINE C
1345, AVENUE LALONDE
MONTRÉAL (QC) H2L 5A9

Exhilarating, refreshing, welcoming. These are the words that I associate with the Under Pressure International Graffiti Convention, which took place on August 13 and 14, in Montreal. Hats off to Sterling Downy, the founder of this festival for creating this stimulating and safe venue for graffiti writers.

I headed to the 16th edition of Under Pressure on Sunday evening. After a draining afternoon of dragging my consumer-weary feet over the black arrows that direct customers through a money-trapped maze, otherwise known as Ikea, I felt rejuvenated as I explored the back alleys of Les Foufounes Éléctriques on Saint-Catherine Street. The hiss of spray cans, the explosion of color on brick walls, the elegant and daring skateboarders, the captivating break-dancers and the uplifting backbeat provided by emcees and DJs jolted me out of shopper’s stupor.

Since I caught the tail end of this event I could admire many finished pieces by graffiti artists from Montreal, Berlin, Paris and London.

Axel Void

Axel Void’s work caught my eye for it’s sparse treatment and it’s dark emotional charge.

Mostly, however, I was charmed to witness this block party where young people could practice their passions in peace. Some writers were applying finishing touches to their murals on their designated wall, delineated by scaffolding boards and frames. This quintessential contemporary urban scene somehow reminded me of prehistoric cave artists.

Janie Belcourt

I visited the new two-story Pop-UP gallery across the street, housed in a historic building that once belonged to the French daily La Patrie. It features large open spaces in a state of semi-decay, which echos the interiors of abandoned buildings infiltrated by street art. The art at Pop-Up did not jump off the walls and ceilings. Most of it felt lifeless and confined without the interaction with urban elements and the buzz of street life. I was, however, pleased to discover the work of Janie Belcourt, who designs furniture from reclaimed skateboards. Her pieces work well in this setting, oscillating between chic and street smart.

En Masse

My last stop was Les Foufounes Éléctriques, to check out the mural that is repainted with each new edition of Under Pressure. I was impressed by the medley of expressions peering from the black and white portraits created by the collective En Masse. It is a perfect backdrop for the nightlife that flows in and out of the club.

No matter where one sits on the controversial graffiti fence, one cannot deny the existence of this vital form of expression. To see it celebrated in the context of the Under Pressure festival is eye-opening and reassuring. Self-run and funded through donations and fundraisers, UP consistently delivers a unique event that embellishes the city and demonstrates that graffiti is an art in its own right, that can be practiced in a harmonious setting.

Talleen Hacikyan

Photos by Talleen Hacikyan

l’Usine C

L’Usine C, founded in 1995 by Carbone 14, is a centre for the creation and diffusion of multidisciplinary contemporary arts. It is located in the heart of Montreal’s Centre-South neighborhood, in what used to be the old Raymond factory. The architecture features many of the original elements such as cement columns and ceilings while skillfully integrating them with new materials such as glass, steel, metal and wood. The building itself is worth a visit.

Clockwise: Rolande, Talleen, René, Michel, Deborah, Noémie

A couple of weeks ago, during the height of the heat wave, the artists met at Atelier Circulaire to make a new print of our large collective linocut. This enormous plate, originally intended to be printed by steamroller, is a challenge to print by hand. My fellow artists used tablespoons to transfer the ink onto the paper, while I used a metal soap, that works like a dream, without breaking your fingers in the process. We printed onto Kuzuke, a thin Japanese paper that we glued onto Arches.

Printing with a metal soap

Come September 6, we will celebrate the fruit of our efforts at a vernissage in this unique theatre centre, the atmosphere of which has been compared to venues in Soho and Berlin. Hope to see you there, Montreal that is.

Icare 6
Vernissage : Tuesday, September 6, 2011, 5:30-8:30 p.m.

L’USINE C
1345, AVENUE LALONDE
MONTRÉAL (QC) H2L 5A9

Talleen Hacikyan

Photo #2 by Josée Charbonneau
Photo #3 by Deborah Wood
Thank you!