High Desert Gallery recently sat down
with Paul Alan Bennett to talk about the artist's hand
pulled linoleum block prints, which will be featured in our Bend Oregon gallery during the month of
February. An artist reception will be held during the Bend Oregon
First Friday Art Walk – February 5, at our gallery location, 10 NW
Minnesota Avenue at The Oxford. The evening event, from 5 to 9pm,
will provide live music with Doug and Katie Cavanaugh, refreshments
and more.
Here are some excerpts from our conversation:
What is the historical context of Linoleum Block Printing and how were you intrigued by the process?
Paul Alan Bennett: The linoleum block didn’t really come into existence until the early part of the 20th century. Before then, artists made similar prints by carving into wood blocks. The linoleum was an easier material to carve as it was softer and didn’t have a grain like wood usually does. Going back to the 16th century, the German artist, Albrecht Durer made a series of woodcuts from which he became quite wealthy. The Japanese woodcuts from the 19th century had a big influence on the art of the Impressionists. In the 1920’s and 30’s, many “wordless” novels were created using woodcuts.
What process do you follow while working at Atelier 6000 to produce each hand pulled print?
Paul Alan Bennett: First, I transfer my design to the linoleum using tracing paper and/or carbon paper. Then I start to carve out my big shapes, thinking about how the whole image will read best when interpreted in black and white. When I think I’m ready to print, I will ink up the linoleum block and run a sample print through the press on newsprint. This image will usually give me an idea of what other areas need to be carved out more. If it needs more I will clean the ink off the plate and do some more carving. I may repeat this process several times over hours or days, carefully carving out my “whites” but trying not to over-carve. This takes a lot of fine-tuning. When I think the image is looking its best, I will then start to run the edition on good quality printing paper. So far, I’ve found that I need to print up at least 3 prints to get one that looks good. There are endless variables that can affect each print so, in a way, each one is unique.
What sends you into the studio everyday?
Paul Alan Bennett: I’ve worked as an artist for 30 years now so going to the studio is a matter of habit with me. People often ask me where I get my ideas. Just showing up for work is often my answer. I will often go to my studio with no ideas at the beginning of the day, but by the time I leave something will have begun- a drawing, painting or whatever. Still, there are times I don’t like going to the studio and being alone. This is where working in a print studio like A6 is so great. Other people are working so there is often time to visit and chat. A6 is a very nurturing environment for artists to work in because of this balance of social time/work time and just being a big place with great light to work in. Pat Clark’s personality also helps to create a very supportive tone as well.
How does the Linoleum Print Process compliment your stylistic approach?
Paul Alan Bennett: I tend to work often with big shapes and patterns and textures. This is a natural fit with the linoleum technique. Although I’m known for my “knit” look in painting, I’m not really interested in reproducing that look with the linocuts. Cross-hatching takes the place of that textural look. I also just like the clean look of a black and white design. It has an honest, straight-forward quality that I respond to.
Are there stories behind each image?
Paul Alan Bennett: I often think of stories or parts of stories while working. However, I expect the work to stand on its own apart from the story. This way, people can bring their own story to the image. Lately, I’ve been telling the “story” of taking my dog for a walk. We have a black lab, Zula, whose shape and color naturally lend themselves to a black and white medium such as the linocut. More than the story of taking her on a walk is the potential I see daily for making some really strong compositions with her as the main subject matter.
Please join us during the First Friday Bend Art Gallery Walk, Friday, February 5, from 5 to 9PM, at our downtown gallery location, 10 NW Minnesota Avenue at The Oxford
About High Desert Gallery: High Desert Gallery & Custom Framing, The Art & Soul of Central Oregon™ is an award winning fine art and custom picture framing gallery with three High Desert Gallery retail locations in Bend, Oregon, Redmond and Sisters Oregon and High Desert Frameworks! located at 431 NW Franklin Avenue at Lava in downtown Bend, Oregon. The gallery specializes in Central Oregon Artists & Beyond™ and Stellar Custom Framing. High Desert Gallery honored in 2005, 2006 and 2007 by Decor Magazine as a "Top 100 Art and Framing Gallery in America" and voted "Best Art Gallery" in Redmond, Oregon (2006, 2007, 2008 and 2009) and Sisters, Oregon (2005, 2006, 2008 and 2009). International Framing Awards earned by High Desert Gallery include First Place and Top Honors in the Professional Picture Framing Association (PPFA) 2007-2008 International Open Framing Competition and Third Place in the Professional Picture Framing Association 2008-2009 International Print Framing Competition.
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