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APRIL 2010 EXHIBIT
| April 3 - 25, 2009 : Four Printmakers : Graphic Media |
Ann Fischer Athas - Etching & Mezzotint Karin Haas - Drypoint, Etching,& Lithograph Jayne Reid Jackson - Etching,Mezzotint, Monotype Jan Serr - Monotype |
Prices on Request : Phone: 608-255-1211, e-mail: staff@gracechosygallery.com |
Ann Fischer Athas Information: Statement Resume
Karin HaasInformation: Statement Resume
Jayne Reid Jackson Information: Statement Resume
Jan Serr Information: Statement Resume
Views of the Gallery
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View of left side exhibit area from the front of the gallery: work by Jayne Reid Jackson & Jan Serr |
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View of right section of exhibit area from the front of the gallery: work by Jan Serr and Karin Haas visible. |
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View of right section of exhibit area from the front of the gallery: work by Jan Serr, Ann Fischer Athas |
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View of right front section of exhibit area: work by Karin Haas |
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Left: Ann Fischer Athas, An Early Spring, 2004, Mezzotint, 9" x 11 3/4" Right: Ann Fischer Athas, Late Afternoon, 2005, Mezzotint, 9" x 12" |
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Ann Fischer Athas, Out/In: Floating, 2009, Etching, 8 " x 11 7/8" |
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| Ann Fischer Athas, Out/In: Breezeway, 2009, Etching, 8 " x 11 7/8" |
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Ann Fischer Athas, Out/In: Falling, 2009, Etching, 8 " x 11 7/8" |
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Ann Fischer Athas, Out/In: Drifting, 2009, Etching, 8 " x 11 7/8" |
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Ann Fischer Athas, Three Somes, 2009, Mezzotint, 4 7/8" x 3" |
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Ann Fischer Athas, Apples, 2009, Mezzotint, 4 7/8" x 3" |
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Ann Fischer Athas, Gentle Glow, 2009, Mezzotint, 4 7/8" x 3" |
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Ann Fischer Athas, Farm Fresh, 2009, Mezzotint, 4 7/8" x 3" 09, Etching, 24" x 18" |
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Work by Karin Haas |
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Karin Haas, Untitled, 2009, 8 panel (31 1/2" x 19 1/4") Drypoint & Collograph, 31 1/2" x 152" |
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Karin Haas, Untitled (left side) |
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Karin Haas, Untitled (right side) |
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Left: Karin Haas, Untitled #1, 2009, Lithograph, 22" x 18" Right: Karin Haas, Untitled #2, 2009, Lithograph, 22" x 18" |
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Karin Haas, Untitled - Birds, 2008, Steel Etching, 19 1/2" x 16" |
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Karin Haas, Untitled - Flowers, 2008, Steel Etching, 19 1/2" x 16" |
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Karin Haas, Untitled - Turkey, 2008, Steel Etching, 19 1/2" x 16" |
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Work by Jayne Reid Jackson |
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Jayne Reid Jackson, White Bleeding Hearts, 2010, Monotype, 3 " x 4 " |
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Jayne Reid Jackson, Pink Bleeding Hearts, 2010, Monotype, 3 " x 4 " |
Jayne Reid Jackson, Out/In, 2009, Mezzotint, 6" x 9" |
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Jayne Reid Jackson, 4 Big Red.... , 2010, Drypoint with Watercolor, 4" x 3" |
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Jayne Reid Jackson, Greeen Apples, 2010, Monnotype, 6" x 8 " |
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: Jayne Reid Jackson, Bluebells and Bleeding Hearts , 2010, etching, 9" x 12" |
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Work by Jan Serr |
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Left:Jan Serr, Three Chinese Fish, 2010, Monotype, 30" x 22" |
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Left:Jan Serr, Still Life #1, 2010, Monotype, 30" x 22" Right:Jan Serr, Still Life #5, 2010, Monotype, 30" x 22" |
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Left:Jan Serr, Still Life #4, 2010, Monotype, 30" x 22" Right:Jan Serr, Still Life #3, 2010, Monotype, 30" x 22" |
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Left:Jan Serr, Two Partridges, 2009, Monotype, 30" x 22" Right:Jan Serr, Haw and Dove in Landscape , 2009, Monotype, 30" x 22" |
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Jan Serr, Two Turquoies Birds, 2009, Monotype, 30" x 22" |
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Artist Statement
Shapes. . . the tangle of cords from a computer, the fullness of pears against the roundness of marbles, a shadow that creates a mysterious darkness, anything that can be used to create a compelling graphic composition. . . are the foundation for my mezzotints. While searching for objects that would make strong still life compositions, I came to more fully Much of my work draws from images and repeating patterns found in nature. My recent "Out/In" suite of etchings was inspired by a window, the fantasy of being able to walk right out of the window onto the tree outside, and patterns of shadows against the window shade. The window shade also serves as a barrier and is a metaphor for the desire to be where one isn't. I work in a variety of intaglio printmaking techniques including mezzotint, aquatint, and polymer plate etching. Printmaking is an indirect process, and that process itself is an important part of my art making. In intaglio printmaking an image is created by etching with acid or engraving with a tool to create grooves in the surface of a printing plate. To print, ink is forced into the grooves and then the surface is wiped clean. The ink remains on the parts of the plate below the surface and is transferred to paper by the pressure of the printing press. While a fairly accurate idea of how a plate will print can be surmised, it is never certain until the blankets are pulled back on the press and the image is revealed. It is this process of working on a plate and seeing an image develop from proof to proof that keeps me inspired.
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RESUME Ann Fischer Athas RECENT JURlED EXHIBITIONS INCLUDE: Prints U.S.A. 2009, Springfield Art Museum, Springfield, MO OTHER RECENT EXHIBITIONS INCLUDE: "20 cm max", OT Gallery , Tustin, CA, 2009 OTHER EXPERIENCE GRAPHIC DESIGNER. Worked directly with clients, and through advertising and public
RECREATION WORKER. American Red Cross, St. Louis, MO As a staff member planned and EDUCATION Knox College, Galesburg, IL, B.A., 1972 AFFILIATI ONS Wisconsin Visual Artists |
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Artist Statement
I use plants and animal life to investigate the complex behaviors of human relationships. The
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BIO Karin Haas ARTIST BIO
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Artist Statement As someone whose artistic expression is firmly based in drawing, I find that printmaking, especially intaglio, provides me with the widest range of tools for my needs. I can be precise and controlled in my etchings and mezzotints, concentrating on the graphic quality of these techniques. Or in contrast, and to compliment this, the monotypes are more fluid, allowing the brushwork and color to define the image.
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Artist Resume GALLERIES: GALLERY SHOWS & INVITATIONALS (group show unless indicated as Solo): MOST RECENT JURIED SHOWS (* indicates award): COLLECTIONS: MEMBERSHIPS: |
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Artist Statement "Periodically I need to add curry to my palette - the color, smell and taste. That's
Jan Serr Biographical Information
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Resume Select One-Person Exhibitions: Tory Folliard Gallery, Milwaukee, WI Select Public Collections: Art in the Embassies, U.S. State Department Select Corporate Collections: Johnson International Select Bibliography: James Auer, "The Driftless Landscape", Milwaukee Journal Sentinel
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