Timothy Burns

	Red Sun / Blue Trees Copper plate hand sanded in two directions. Torn cotton cheese cloth was then laid on surface and lightly sprayed with fine gold acrylic, indian yellow hue acrylic, and red acrylic. When almost dry, the cheese cloth is pulled away, leaving a net pattern. The plate was then allowed to dry overnight. Three very heavy layers of inkAID Clear Gloss Type II were then applied. Printed the trees and sun on the Epson 7880, edge to edge.
Hidden / Revealed Using ball grained aluminum, (sold for litho printing), I applied with a foam brush 6 layers of Titanium White acrylic. This was followed with some underpainting with bronze iridescent acrylic, inkAid White Matte, and then tinted with one coat of red fluid acrylic. Printed on an Epson 7880. It was then finished with some minor overpainting and sharpie work and then coated with two coats of Golden Artist Colors Gel Gloss topcoat and one coat of Semi-Gloss topcoat.	Click image for larger view.
Click image for larger view.	Seeing Stone Ball grained aluminum with multiple coats of titanium white acrylic. Followed by three coats of inkAID White Matte. Printed on the Epson 7880. Top coated with 3 coats of Golden Artist Colors Gel Gloss topcoat.
Meditation On Blue Ball grained aluminum with multiple coats of titanium white acrylic. Followed by 3 coats of inkAID White Matte. Printed on the Epson 7880. The three gold rectangles are comprised of fine gold acrylic paint over red acrylic paint. Top coated with 3 coats of Golden Artist Colors Gel Gloss topcoat.	Click image for larger view.

I have been an artist in photography, video art & performance art, and since 1994 in printmaking, showing in regional, national and international exhibits. My work of the last few years has involved the exploration of printmaking and painting as a hybrid medium of expression.

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Wen Redmond

	Edge of Night One of a kind multi-layered fiber photographs. Image was divided into 4 sections using Photoshop and printed onto inkAID treated stabilizer using a Epson 2400. Creatively stitched and mounted on painted artist boards. UV Resistant coating was painted on top.
Pause I manipulated my photograph and divided it into 9 sections of 11″ x14″ in Photoshop. I painted light molding paste on a substrate of rayon polyester stabilizer, followed by inkAID with touches of metallic. The paste gives the impression of brush stokes and the metallic inkAID adds sheen in places. Printed with an Epson 2400 using Ultrachrome inks. I mounted each print on another substrate to compose the final piece. UV Resistant coating was painted on top.
	Culvert Collaged string, watercolor, oil sticks and rice paper using gel medium, coated with inkAID Clear Gloss, overprinted with original digital image with an Epson 2400 using Ultrachrome  inks.
Fog Collaged watercolor and rice paper using gel medium, then coated with inkAID Clear Gloss. Overprinted original digital image with an Epson 2400 using Ultrachrome inks.

“Fiber art has sustained my creative impulses since 1975. It is a fluid and expanding art form. I enjoy pushing the boundaries to see ‘what if’.”

I am a mixed media/fiber artist. I create the entire structure of my art pieces. These works can include painting, dying, stamping, screen-printing, mono printing, and other means of surface design. My latest work contains digital printing. This involves using my own photographs, digitally manipulated in an artistic manner and printed on a variety of prepared substrates.

When I work, I encourage a collaborative process with spirit or my higher self, that mind-boggling principle of the universe. This process can also be called ‘flow’. When you are in this state of mind, the intuitive is tapped and the work can become more than the sum of it’s parts. I work out insights, inspirations, feelings and reactions to the outer world. Allowing time for these inspirations to percolate up from my unconscious is a vital part of my process. The nature of my work permits the viewer to see different images within the very same piece, drawing the viewer in. I achieve this with illusionary surface design digital collage or actual physical layering to produce one image.

Each work is unique and created individually.
-Wen Redmond

Wen Redmond has worked in the fiber field since 1973, when she made her first intuitive pieced textile construction. Her new fiber work is innovative and fresh. Wen delights in creating gentle tonal contrasts and layers that interact with each other. Redmond has been a member of the League of New Hampshire Craftsmen since 1993 and juried in stitchery and surface design. She is also a member of the Maine Art Association, Professional Studio Art Quilt Association, Surface Design Association, Women’s Caucus of Art, and the New Hampshire Art Association and Seacoast Fiber Artist Association. Her work can be seen nationwide in galleries, juried, solo, and Invitational shows including an invitation to The Museum of AQS in Paducah, KY in 1986, Quilter’s Heritage Celebration, Quilt 21, Quilts=Art=Quilts, Craft National, State Collage PA, Fiber Directions (juried by Jason Pollen), Whistler Museum, Columbia University, NYC, Rubin Gallery, Boston University, Niche Finalist 2008, and in private and public collections.

Among her publications are Surface Design Journal, Exposure Fall 2008, featured artisan in the July/August 2008 issue of New England Home Magazine, Art Quilt Elements 2008 Catalog, Niche magazine 2008, Innovative Digital Fiber Images Book, Fabric Art Gallery book featuring Metamorphosis on the cover, article Holographic Memories in Quilting Arts Magazine- April/May 2007, and Quilting Arts TV show, SAQA’s Professional Works Portfolio 13,14 and 15, Words Within NYC catalog, Fiber Arts Magazine review 2005, Crafts Report 1997 and International Quilters Magazine, article 1986.

She has just been nominated a Niche Finalist 2010 in Surface Design.

• Website: http://www.wenredmond.com
• Blog: http://www.fiberartgoddess.blogspot.com
• ETSY Shop: http://www.etsy.com/shop/wenredmond
• Twitter: http://www.twitter.com/wenredmond
• Artful Home: http://www.artfulhome.com/artist/7983.html

STUDIOS

• Salmon Falls Mill, Rollinsford NH
• First Star Farm, Strafford, NH

Loek de la Haye

Een nieuwe dag

A book cover made with 90 gsm Ingres paper coated with a thin layer of inkAID White Matte (thinned 50% with water) to allow the original beautiful green tint of the paper to show through. Printed on an Epson 9800 using the Ultrachrome K3 inkset with photo black ink. The print was then top coated with a few very thin layers of Golden MSA varnish.

This work is on display at the Dutch National Library.

	Ostende – Belgium BFK Rives paper with a thin base coat of Golden fine steel paint followed by a layer of inteference copper (Dahler Rowney). After drying for several hours, one heavy coating of inkAID Clear Semi-Gloss. Printed on an Epson 9800 using the Ultrachrome K3 inkset with photo black ink. The print exhibits very rich and beautiful colors which take on a “copper to greenish” cast depending upon the angle of the light.
Wall 423 Tyvek (1.1 meter x 1.1 meter size) substrate coated with 3 layers of inkAID White Matte using a foam brush. While wet, the final layer is textured with a crumpled plastic bag to provide depth to the image. Printed on an Epson 9800 using the Ultrachrome K3 inkset with matte black ink. The image was then top coated first with several layers of Eco Print Shield Gloss and then 1 or 2 layers of Eco Print Shield Matte to produce the desired visual effect.
	Wall 0706 Tyvek (1.1 meter x 1.1 meter size) substrate first coated with 2 layers of inkAID White Matte using a foam brush. Then a piece of aluminum foil was placed in the lower middle section coated with inkAID Clear Gloss Type II over the surface and the edges. Finally, the remaining Tyvek surface is coated with another layer of White Matte coating. Printed with an Epson 9800 using the Ultrachrome K3 inkset with matte black ink. This piece was not top coated so as to preserve the beautiful visual effect of printed foil.

Loek de la Haye began his career as an engineer in occupational health care. He then returned to school in the mid-1990′s to study art. Utilizing digital photography and modern ink jet printing technology, Loek is able to present his work in unique and captivating ways.

For his prints, Loek not only uses commercially made fine art papers (Innova/Hahnemuele) but also several different brands of watercolor papers coated with various dilutions of inkAID White Matte or inkAID Clear Gloss TypeII. The large prints (1 by 2 meters) are done on Tyvek coated with several layers of inkAID White Matte. He uses a diluted mixture of inkAID Semi-Gloss to print on pigskin for his art book covers. Loek uses Epson printers, the 9800 with a matte black inkset, and the 7600 with the photo black inkset. The latter mostly used to print on aluminum covered with gesso and inkAID White Matte.

Loek lives and works in the Netherlands.               loek@fritzcatstudios.nl

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