Posts Tagged ‘for sale’

The Texture of Faith

Monday, September 6th, 2010

The Texture of Faith by Amy Crook

The Texture of Faith by Amy Crook

This print uses 3 of my little etching plates, two of which have been double-inked so that there’s a primary color in the actual etching, and a secondary red on the surface of the plate. The top two plates are both found objects of a sort, the smaller one is actually part of a larger plate that I cut up and kept pieces of to use in other prints. The paper has a beautiful texture of its own, lending an extra dimension to the abstract images, and giving a rich desert for the tiny cruciform figure to wander in.

The Texture of Faith, detail, by Amy Crook

The Texture of Faith, detail, by Amy Crook

There’s a lot of meaning that could be inferred here, but this is one of those pieces that’s hard to quantify for me — I can talk about this technical aspect or that process, but the end result was something unexpected. There’s hints of stories and ideas hiding in the abstract, brought out by the smallest image at the bottom.

The Texture of Faith, 15.5″x23″ intaglio and monoprint on imported Mexican bark paper, $499 with free shipping.

Categories: Abstract and Just Plain Weird, Angels, Cthulhu, and Other Myths, Daily Art
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The Beating of Mighty Wings

Saturday, September 4th, 2010

From the Darkness, I Hear the Beating of Mighty Wings by Amy Crook

From the Darkness, I Hear the Beating of Mighty Wings, lithograph by Amy Crook

This piece was a two-part stone lithograph drawn by hand on two stones, which is a really interesting and odd process that I only got a chance to try out twice during the short time I had access to the materials.

The image on the left contains a quote from Neil Gaiman’s Sandman series about his character of Death, and that’s the quote which I used to title the whole piece. On the right, we have a quote from the Joy Division song “In a Lonely Place,” which was quoted in the original comics for The Crow — the second comic series I ever collected (the first was Bill Sienkiewicz’s Stray Toasters). The image, of course, is of the main character from the comic and later movie, and has a pattern of wings overlaying the shadows, a match to the outspread wing in the first panel.

There are a lot of hidden things here about death and myth and meaning, but also about art and inspiration, and the process that artists of all sorts go through, amalgamating all the art they consume, the culture around them and the facts and trivia they learn, and putting it through the mill of their own experience. The Crow is littered with quotes from songs, The Sandman is rife with literary, historical and mythical references, and between them there is a small but coherent thread of death and flight and black wings that carry the soul away, that I’ve chosen to weave into this artwork.

From the Darkness, I Hear the Beating of Mighty Wings, edition, 22″x15″ stone lithograph on watercolor paper.

The print above on the buff paper was done in an edition of 26, of which I still have 6 (with some variation between prints owing to the process). I also have a single print on heavy natural-deckle handmade watercolor paper that’s one of a kind. No more of these can ever be made — the stones were long sanded down smooth and used for other artworks.

From the Darkness, I Hear the Beating of Mighty Wings, AP by Amy Crook

From the Darkness, I Hear the Beating of Mighty Wings, AP by Amy Crook

From the Darkness, I Hear the Beating of Mighty Wings, A/P, 22″x17″ stone lithograph on handmade watercolor paper.

Categories: Angels, Cthulhu, and Other Myths, People, Figures and Faces, Things I'm a Fan Of, Zombies, Skulls, and Other Morbid Things
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Red

Friday, September 3rd, 2010

Red by Amy Crook

Red by Amy Crook

I actually have two pieces with this same title, and I’ll try to post the other one (an oil painting) next week. I considered renaming this one, but the red is really the thing that calls to me about the piece. The red is dark and rich, and the figure is a fuzzy shadow that hides in the complex fibers. The ink of this print adhered irregularly to the handmade Thai paper, giving it a ghostly appearance.

One of the reasons I love the monoprint process so much is that it adds an element of randomness, making the art a collaboration between me and the process instead of me trying entirely to control what goes on.

Red, 22.5″x30″ monoprint and chine colle on watercolor paper, $499 with free shipping.

Here’s a close-up of the figure’s face, so you can see the other colors that are hiding amongst all the red, the black and white and a barely-there glow of golden yellow.

Red, detail, by Amy Crook

Red, detail, by Amy Crook

Categories: Daily Art, People, Figures and Faces
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Urgent Grounding

Thursday, September 2nd, 2010

Urgent Grounding by Amy Crook

Urgent Grounding by Amy Crook

One of the hardest things about art is knowing when a piece is done.

This painting started out as a quick sketch that I filled in with some messy linework in a rich forest green. I started working in the background of rich orangey gold, and then at one point I stepped back and said, you know, I think I like it just as it is. I’ve had it hanging in my living room for a while now, and I haven’t ever wanted to go back and mess with it.

Urgent Grounding, 30″x24″ oil on canvas, $899 with free shipping.

Categories: Daily Art, Nudes and Other Sexy Things, People, Figures and Faces
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Torn

Monday, August 30th, 2010

Torn by Amy Crook

Torn by Amy Crook

This is another large monoprint that involves many layers of paper and ink. I had originally done the face as part of a larger figure, but wasn’t happy with the result, so I tore up the sheet of paper to make more interesting shapes and re-used parts of it in the top layer of this print. The red is actually all ink rather than another sheet of paper, a large printing plate covered in it. The bottom shape was layered with the torn paper under the ink, and then on top another layer of paper and ink was laid down, this time with large sheets of acetate for the medium rather than a plate.

These prints are all one of a kind, and I no longer have access to the press I did them on, so they’re not something I can make again. Each one involves a unique process of things coming together, ink and ideas, paper stock and plates, to create an individual work of art.

Torn, 22.5″x31″ monoprint and chine collé on imported handmade and watercolor paper, $499 with free shipping.

Categories: Abstract and Just Plain Weird, People, Figures and Faces
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Identify

Friday, August 20th, 2010

Identify, detail, by Amy Crook

Identify, detail, by Amy Crook

I thought I might end Friday with a monoprint in 2 panels, a 2-by-6 inch one allowing the figure to reach past the 4-by-6 inch frame she’s in, making the whole image 6 inches square. Although this print originally had a different title, I chose to change it to “Identify” because it works on several levels. Female nudity is becoming ubiquitous in our culture, but at the same time it’s still both highly fetishized and reviled. By masking the identity of the woman in the image, she’s both reduced to an object, and protected from the viewer’s scorn. In addition, it invites the viewer to identify with the subject, to find points of commonality despite her vulnerable-yet-anonymous position.

Identify, 6″x6″ monoprint on 11″x11″ watercolor paper, $399 with free shipping.

Categories: Daily Art, Nudes and Other Sexy Things, People, Figures and Faces
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Not Late for Anything

Thursday, August 19th, 2010

Not Late for Anything by Amy Crook

Not Late for Anything by Amy Crook

This print uses several techniques, layering the two sheets of imported paper, black on a creamy natural white, and then adding silver ink in the form of 4 separate images — 3 rubber stamps around the borders, and the central monoprint. All of the images were printed in silver oil-based etching in, because the black paper wouldn’t allow the translucent water-based monoprint inks to show up. In addition, the paper didn’t allow the image to fully print, some of the fibers rejecting the ink entirely, leaving the figure with a shadowy, deaths-head appearance.

In the upper right, I re-used the same silver sun from Sea, and then we have the White Rabbit from Alice in Wonderland on the lower left, and a Winnie the Pooh stamp on the lower right. Pooh stands hand-in-hand with Christopher Robin, along with the quote, “The Forest will always be there… and anybody who is Friendly with Bears can find it.”

I wanted to give the image of someone basking in the sun, eyes closed, taking a moment before moving on to whatever the next thing is, whether it’s another day’s work, the Red Queen’s Court, the Forest, or whatever lies beyond the fields we know.

Not Late for Anything, 31″x23″ monoprint, rubber stamp & chine collé on imported paper, $499 with free shipping.

Categories: Daily Art, People, Figures and Faces, Things I'm a Fan Of, Zombies, Skulls, and Other Morbid Things
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