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FROM OPEN GATE PRESS, ARTIST PAULA SCHUETTE KRAEMER

These prints and drawings were created by artist Paula Schuette Kraemer at her own press, Open Gate Press, located in Madison, Wisconsin. Paula attended Vassar College and the University of Wisconsin -Madison, where she earned a Bachelor of Arts and a Master of Arts in printmaking and ceramics. As her work has evolved, the use of symbols has always been apparent in her attempt to portray the world around her. One image, the open gate, has reappeared three or four times in the past 16 years; and with each occurrence, this symbol has taken on a slightly different meaning. At first it was an obstruction, then the challenge of a choice to make. Later it showed a passage of time and the fact that someone or something was missed. Most recently it has reappeared to represent the boundary between our hectic existence and the calm of nature. Always, the gate has represented a current side, and another future side. It somehow refers to moving on, to change and to keeping at life. As art has been the most common thread in Schuette's life and as it has given her the impetus to adapt to change and to keep proceeding forward, it is appropriate that her press be named "Open Gate Press".

The pieces represented here are, in one sense, very autobiographical, as they follow subjects close to the artist's life. And yet, nostalgia for past times, love of one's pets, anticipation of the future and desire for calm are also themes common to everyone's experiences, and it is the intent of the artist that they be viewed as both personal and universal comments on life.

Typically, Paula is known for her drypoint monoprints and monotypes. Her drawing style translates well into the linear immediacy and spontaneity that is achieved with drawing directly into a copper plate with an etching needle. During the actual printing process, she intentionally leaves some surface ink and often smears, wipes and draws into that residue ink. This is what qualifies the artworks as drypoint monoprints and monotypes. The prints within each edition do vary and yet the image, the color and the composition remain constant within each edition. These editions are small because so much creative time is spent during the actual printing process.

Some drawings on mylar have been included in this show as they are a natural extension of the way a printmaker thinks in layers. In most cases, there is a monoprint underneath the mylar and then drawing is superimposed on top of that. The ability to see through one layer drawing to another beneath creates a richness of imagery as well as meaning. This same process of superimposing a color, or a line or an image over another is exactly the way in which Schuette resolves her prints before the editioning stage. It is an excellent trial and error tool for seeing what visually works.