If you have been following my writing for the NASSR Graduate Student Caucus, I've posted on the blog this week. This new writing, entitled Geology, The Sleeping Giant, is a small, train-of-thought type of post which follows some of my research into the relationship of printmaking and humans to geology, and the ways I may have been overlooking rather important connections in my work only because they didn't seem like the work of a "printmaker."
Some of these ideas may make their way into my opening remarks at next month's SGCI panel, however I am more likely to use this a reflective exercise before working on a more broad approach to the overlapping ideas and themes that emerge from the group. All four of us use rocks and landscapes as a starting point for more significant and interesting work, and some of that work isn't even printmaking! I have been shadowed by these old-fashioned terms for so long and only now, at the age of 33, can I see past the traditions that drew me into it. The structure and the rules and the beautiful cleanliness of it all were some of the characteristics that printmaking had in common with the scientific method. I now know why there was a comfort in that, but art is not science. Printmaking is no longer defined by these old tenants.
If you happen to like reading my post, please explore the writing of the other researchers and graduate students on the blog. There are wonderful, enlightening, and very interesting articles on the topics of Romanticism, scholarship, printmaking (especially Blake), and the intersections of science and art. As a guest visual artist on the blog, I'm happy to also be joined by guest poet Melissa Walter this year.