UPCOMING and CURRENT EXHIBITIONS
The Capital Art Print Fair will be held the last weekend in March at the Holiday Inn-Rosslyn Westpark Hotel in Arlington, VA. Two of my dealers, Conrad R. Graeber Fine Art and Davison Galleries, are participating. The Fair will be open on Saturday, March 30th from 10:00 a.m. to 6:00 p.m., and on Sunday, March 31st from 11:00 a.m. to 5:00 p.m. The Holiday Inn-Rosslyn Westpark Hotel is located at 1900 North Fort Myer Drive, Rosslyn, VA, 22209. For more information about the venue, tickets, and directions, visit capitalartprintfair.com or davidsongalleries.com or conradgraeber.com.
New Orlean's Stone + Press Gallery is back on line after a post Katrina hiatus and continues to represent artists working in traditional printmaking techniques, particularly mezzotint engraving. Their new website is stoneandpressgallery.com.
My interest in outdated machinery often considers the relationship between technology and the evolution of language. Do words read on a screen have the same meaning, credibility, or staying power as words typed, handwritten, or carved in stone? If not, how does the medium alter the message, and what impact does context have on this transformation? These are some of the questions that, along with current events, inspired my mezzotint engraving Press Release.
Press Release, © Carol Wax, 2017, Mezzotint engraving, Image: 15 x 24 inches, Edition 75
OTHER NEW PRINTS
My mezzotints frequently include some burin engraving, but these miniature format engravings are my first executed entirely with the burin. The images were inspired by my graceful Weimaraner, the small 17th century caricature etchings of Jacques Callot, and my love of calligraphic gestures.
Reflect, Repose, Rejoice, Refresh, 2017, Burin engravings, Each image: 2 3/4 x 2 3/4 inches
The prints, published separately, are printed on 7 1/2 x 6-inch sheets of German Etching paper
OTHER NEW WORK
Big Drip recalls my print Falling Water and a fascination with plumbing and textiles. It also begs the question, “What’s in YOUR water?”
This image takes a break from current events and returns to drawing with graphite pencils. The image began as a single line cascading in waves from the top left corner of the sheet to the bottom right. The rest of the composition was improvised from this calligraphic gesture. The title was borrowed from the English composer Sir Edward Elgar’s 1899 orchestral piece, in which the original motif is also concealed amongst multiple variations.
My newest series of paintings uses objects to address timeless human struggles underlying events of our times. In these images, an articulated wooden hand stuck in a water valve dripping sludge is surrounded by murky shadows representing the layers of indifference that poison our water. Or, the myth of Icarus evokes the perils of succumbing to misguided entitlements and hubris, while a solitary exposed marble questions a society that alters children’s perceptions of shooters from toys to school intruders. In this way, material possessions are reinterpreted to reflect our changing cultural values and ethos.
When challenged by Earl Retif to create images inspired by my surroundings in the Hudson Valley, I struggled to find a personal approach. Referencing scenes in photographs forced me to address the dichotomy between reinterpreting documentation of an event, and memory or direct experience. The result combined my love of trompe l’oeil and impressions of light at the river’s edge.