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http://www.bakerartistawards.org/nominations/view/Soledad/

New First Impressions Video!

 

From the Stevenson University Gallery Opening of First Impressions:

 

Check out this new video with personal interviews from each of the exhibiting artists!

  

Watch the Video here:

 

Or follow this link to watch the video on YouTube:

http://youtu.be/tl-GexZa61c

 

Art Miami - Miami Art Basel

Barcodes: Merging Identity & Technology

 

Here are some photos of the installation at ABMB, Art Basel Miami Beach.

Thanks to all of the artists who collaborated on this project: Joyce J Scott, Pablo Cano, Gabriela Morawetz, Fanny Sanin, and Michel Varisco!

 

 

 

Scan these QR Codes with your smart phone to experience Barcodes: Merging Identity & Technology! Each QR Code will bring you to a video of each of the collaborating artists! (You can also click the link below each image to go directly to each video.)

 

 

Joyce J Scott

 

 

http://soledadsalame.com/Portfoliofiles/idandtech/videos/JJ_Scott.mp4

 

 

 

 

 

Pablo Cano 

 

 

http://soledadsalame.com/Portfoliofiles/idandtech/videos/P_Cano.mp4

 

 

 

 

 

Soledad Salamé

 

 

http://soledadsalame.com/Portfoliofiles/idandtech/videos/S_Salame.mp4

 

 

 

 

 

Gabriela Morawetz 

 

 

http://soledadsalame.com/Portfoliofiles/idandtech/videos/G_Morawetz.mp4

 

 

 

Fanny Sanin

 

 

http://soledadsalame.com/Portfoliofiles/idandtech/videos/F_Sanin.mp4

 

 

 

 

 

Michel Varisco

 

 

http://soledadsalame.com/Portfoliofiles/idandtech/videos/M_Varisco.mp4

 

Art Miami at Miami Art Basel!

http://www.art-miami.com/

http://www.miami.com/art-basel-satellite-fairs-article

First Impressions Show Catalog: Stevenson University

Sol Print Studios Featured in Baltimore City Paper

Voices In Print

Soledad Salamé teaches accomplished artists printing techniques

By Cara Ober

Published: November 14, 2012

 

“Dying Cactus” (2012), Solar Plate Etching, archival inkjet print, embossing on paper by Christine Neil

 

First Impressions: Sol Print Studios

through Nov. 30 at Stevenson University
 

For many artists, printmaking is a magical act. Working in a series, with the ability to make subtle changes, is an ideal way to make art because it mimics the flexibility of the thinking process. However, few artists today make prints, favoring more direct methods of expression, like drawing, painting, or collage. Unless you’re making dead-fish prints, like many elementary school kids do, you will need a press, ink, brayers, printing plates, special paper, expertise, and a host of toxic cleanup supplies. Although the majority of artists will tell you they would love to make prints, there are very few opportunities and environments to do so.
First Impressions, the current exhibition in Stevenson University’s St. Paul Companies Pavilion Gallery, is a terrific argument for printmaking, despite its obstacles. The show features prints by Gloria Askin, Joan Belmar, Oletha DeVane, Joe Kabriel, Katherine Kavanaugh, Gabriella Morawetz, Christine Neil, Pamela Phillips, Leslie Portney, Randi Reiss-McCormack, Soledad Salamé, Joyce Scott, and Ruby Yunis. This group of notable painters, sculptors, and mixed-media artists are all united through participation in a series of workshops at Sol Print Studios, a local Baltimore print atelier.
Founded in 2009 by Soledad Salamé, a printmaker and multimedia artist of international acclaim, the workshop encourages artists of all backgrounds and levels of expertise to create solar etchings and monoprints in Salamé’s light-filled studio. Each workshop includes no more than four artists at a time and occurs over three consecutive, full days—not unlike a printmaking marathon. Rather than giving safe recipes or assignments to her students, Salamé works with artists on an individual basis, suggesting techniques and approaches so that each develops their own personal trajectory.
“I like the intimacy of Soledad’s workshops, of working with two or three accomplished artists” says Christine Neil, a painter and professor at MICA. Neil enrolled in the workshops after struggling with a new body of work. “Sol speaks definitively about printmaking and does not hesitate to tell an artist what will work and what won’t. I trusted Soledad’s suggestions and learned a lot by doing so.”
Sol Print Studios’ primary use of solar-plate etching, an immediate and non-toxic method for creating highly nuanced images, is rare. For Neil and many other participants, the technique wasn’t completely new, but working with Salamé made all the difference.
“She introduced several printing techniques I hadn’t used before,” explains Neil, whose new series of botanical prints pairs delicate linear structures with loose, a la poupee monoprinting and dramatically embossed areas. Later, Neil incorporated drills, a dremel, glue guns, and hot exacto knives into her embossing technique, at the influence of her husband, a “tool guy.” “While these tools gave the etchings a dimension that worked well for this set of prints, the skills I learned are transferable to other works as well,” says Neil, who is already working on her next body of work.
Katherine Kavanaugh, another MICA professor and participant, has been making sculpture and installation for over two decades. In the last few years, she has turned to collage as a way to combine photographs of her constructions. Kavanaugh has completed three workshops since May 2012 to prepare for a month-long printmaking residency in Ireland this fall. Her series, titled “Axis I–V,” features layers of imagery created by multiple combinations of printing plates.
“As a teacher myself, I am appreciative of Sol for having the sensitivity to each student’s unique voice and honoring that while, at the same time, nudging us to move into unfamiliar territory in printmaking,” says Kavanaugh. “Sol has an ability to communicate her ideas clearly, to understand color and technique and to help us to move beyond our resistances.”
Randi Reiss-McCormack took her first workshop with Salamé because she wanted to continue the process of intaglio etching she had used much earlier in her career. At Stevenson, she exhibits “Relentless I–IV,” a four-panel print with bold, looping shapes that falls somewhere between abstraction and pattern, based on images from X-rayed luggage and imaginary landscapes. “I had hoped to learn a simple technique, but instead I reacquainted myself with the connections of the printmaking process that pervade the ways I approach all my work,” explains Reiss-McCormack. “Printmaking always seems to be rife with happy accidents, and even if they are not always happy, they lead you in a direction you did not intend to take—that’s where the excitement starts.”
Like Reiss-McCormack, Leslie Portney’s workshop experience took her work in unexpected directions. “I enrolled in the Sol Print Studios Workshop to invigorate my ideas and to develop more as an artist,” says Portney, primarily a ceramics sculptor. “I had hoped to experiment with encaustic, but this process led me to drawing as a means to create new imagery. This was a totally unexpected development and I am thrilled that printmaking has led me back to drawing.” At Stevenson, Portney’s “Heart Series” explores the organ from a biological, emotional, and symbolic standpoint.
Art-jewelry maker Gloria Askin enrolled in Sol Print workshops four years ago, to explore her relationship with color and texture. Her jewelry has been included in several books and is sold in gallery-shops all over the country. “Soledad saw in my jewelry work a possibility for me to expand my language,” says Askin. “It was a life changing experience.” At Stevenson, Askin’s print series explores femininity through three-dimensional layers. The series, titled “Just Like Me,” combines cut sections of prints on Japanese rice paper and silk organza, and they tumble across the paper in veil-like ruffles.
Oletha DeVane, a local educator and gallery director, has exhibited her multimedia works most recently in the 2010 Sondheim Semi-Finalist Exhibit and 2011 Corridor at the Art Museum of the Americas in Washington, D.C. She first enrolled at Sol Print Studios Workshop in 2010, in order to work on a mutual project with Salamé and Joyce Scott, and has continued to add new approaches to her work through additional workshops since that time. Her nine-panel print, “Call to Freedom,” features a raven to represent Harriet Tubman on her journey from Maryland’s Eastern Shore. DeVane also repeats the image of a sweet-gum seedpod to create a textural background pattern because they were common in the forests of the Eastern Shore and were used as healing medicine by slaves. While the visual repetition creates a natural rhythm to unite the nine disparate images, their specificity transforms the rambling journey into a politically charged narrative.
On the workshops, DeVane is unequivocal. “Sol is an incredibly generous teacher and mentor. She has a wealth of technical expertise and artistic knowledge, and she invests the time with each of the artists at the studio in order to have them leave with their own body of work.”
Additionally, many of the artist participants cite the workshops’ emphasis on collaboration and camaraderie as a significant source of inspiration and education. “Working in a studio with other artists is invigorating and energizing to one’s own art practices,” says Reiss-McCormack. “So much time as an artist is spent alone in your own mind and studio, so sharing of ideas, techniques, conversation, and, of course, lunch is fantastic.” During each workshop, Salamé encourages collective brainstorming and socializing among participants, providing communal meals and a celebratory glass of wine at the end of the day.
“I’ve found that putting myself in new situations and doing a lot of work, regardless of success, forces me to react intuitively rather than be too contemplative,” Neil says of her new work. “The critical contemplation comes later, but by that time, the imprint of the intuitive action has made its mark and surfaces again in ways that can’t be predicted. This is the mystery and magic of the creative process.”

(Follow this link to the Sol Print Studios Article in City Paper - Arts and Culture: http://citypaper.com/arts/stage/voices-in-print-1.1402700 )

Featuring the Sol Print Studio Artists

--The Artists of First Impressions--

Now - November 30, 2012

St. Paul Companies Pavilion on Stevenson’s Greenspring campus

1525 Greenspring Valley Road, Stevenson, MD 21153

Randi Reiss-McCormack

 Working at Sol Print Studios is a wonderful way to challenge your work and move your ideas into a new medium. The process of etching is so ripe with experimentation, technical feats to master, and all the accompanying magic, that it can’t help but be exhilarating. The camaraderie of working closely with other artists and the mentoring of Soledad, is something that makes these workshops unique and move beyond simply learning a new technique.

Detail from Relentless Edition.  

Joyce Scott

Printmaking is probably as close as I’ll get to becoming an accomplished painter. A history of monoprints and lithographs created across the country with varying level of success is my story. My joy comes from the mess and spontaneity, not necessarily precision. Soledad encourages the best from her cohorts while gently directing achievement.

Heart and Soul. 2012. Monoprint.

Gloria Askin

Working in Soledad's studio is a true joy. With patience and an amazing open style of teaching that allows each artist to find their own, distinctive, voice Soledad has nurtured and fed me and those who work in Sol Print Studios. To be able to work in such an atmosphere and learn from a master like Soledad has been a marvelous growth experience that I am very grateful for.

Just Like Me. 2012.

Joan Belmar

This print (Rituals) is a combination of themes from 2 of my series. One part comes from a piece I did for "Art at the Top: A Sondheim Show" in Baltimore, MD, as part of Artscape and it was a 3D installation.

The other part comes from my Tierra del Fuego series, which was inspired by the traditional coming of age initiation ceremony once held by the Selk’nam people from Tirerra del Fuego, Chile, and who were driven, by 1966, into extinction.

The print workshop at Sol Print studio was intense and rewarding.

Although I am an experienced artist, I did not have any previous experience in printmaking.

I was thoroughly engaged by the professionalism and experience of Soledad. She pushed me and helped me get the best quality print.

The workshop opened a new world for me.

Rituals.

Pamela Phillips

The workshops were excellent, so much to discover! Soledad is a great teacher and guide with her extensive knowledge of all aspects of the printmaking process. We are very fortunate to have the Sol Printmaking Studio here in Baltimore.

Deep August. 2010. Solar Etching/Monoprint.

Christine Neill

Many of my studio works layer the hands-on techniques of painting and drawing with digital processes. This workshop has enabled me to become familiar with the possibilities of etching and embossing as well.

Developing a process for assembling the images prior to printing was as labor intensive and valuable an experience as applying the etching techniques. Through Soledad’s guidance, I ultimately combined a cell drawing and a wash drawing in Photoshop and printed them as one image onto BFK Rives. I developed a different combination for each print. Simultaneously, I prepared a scan or photograph of a plant form and had a Solar Etching Plate made of it.

In April, during the first half of the 6 day workshop, I printed copies of seven plates, adding color while inking the plate. When I go back to the studio in mid-May, I will print 3 more images and emboss the prints to complete the portfolio of 10 images.

By working on small size prints in an experimental way, I have gained skills that are transferable to a group of mixed-media watercolors I’ve been developing over the past year. The process of layering the etchings with other media has helped me to concurrently work through difficulties I have encountered in the watercolor pieces that are over 5 feet high and layered with complex and expensive digital prints. I am proceeding with the mixed-media watercolors with new insights and experimental fervor.

Split Magnolia, 1/3, 2012, Etching, Digital print and Embossing on Paper & Plexiglas, 22” x 15”

Oletha DeVane

There is something incredibly special about working with Soledad. Not only has she given over her space to mentor other artists in printmaking techniques, she’s also invested in the process of making sure they feel successful and leave with a coherent body of work. I’ve never left her studio without a sense of accomplishment. On top of feeding the inspiration, she literally feeds the body with her delicious cooking! I’ve produced several series at Sol Studio and her honest critiques and professional expertise keeps me coming back. My most recent prints “Call to Freedom”, were produced at Sol Studio and are currently showing at Stevenson College.

The print series was inspired by the book, Bound for the Promise Land, by Kate Clifford Larson. It is a series of nine prints which incorporates the raven which symbolizes an oracle and is considered intelligent, courageous, and a leader amongst birds. I used it to represent Harriet Tubman. The seedpods of the sweet gum tree are the background element and the trees are common in the forests of the Eastern Shore of Maryland where Tubman was born and also led the first slaves. Larson explains the seeds as, …”large, round, and covered with spiny, burrs. They littered the forest floor, sometimes inches deep, nature’s bed of nails.” Those seedpods, once the medicine with aromatic, therapeutic fragrance to the slaves; once healing folk treatment for wounds, and dysentery; once the hollowed out trunk that served as a baby’s cradle, would then, “pierce the calloused, unprotected feet of terrified runaway slaves, then the sweet gum tree would be among the first obstacles on the road to freedom.”

Call to Freedom. 2012.

Katherine Kavanaugh

My prints come out of a long history of making three-dimensional work and often include images of installations and sculptures I've constructed.

Since May 2012 I've taken three workshops with Sol. She helped me to make a body of work that I'm very happy with. I had not done printmaking for many years, in fact, my work has primarily been three-dimensional in the last 20 years.

As a teacher myself, I am very appreciative of Sol for having the sensitivity to each students' unique voice and honoring that while, at the same time, nudging us to move into unfamiliar territory in printmaking. She has an ability to communicate her ideas clearly, to understand color and technique and to help us to move beyond our resistances.

Axis IV.

Leslie Portney

My art practice before I enrolled was primarily ceramic sculpture , drawing and and painting. I have been working on a "heart series" for the past few years. This content evolved out of my study of Buddhism and meditation over the past years. What I wanted to evoke from the first series was to evoke "compassion", and "heart" to our world since all human beings can struggle with this feeling for themselves and others.
My most recent shows before this was "Betsy Hotel, Miami Basel".Before this I had work shown in the Peabody Conservatory, Tuttle Gallery, Clayworks Art Gallery , and The Maryland Arts Council exhibiting 40 ceramic artists .
I first enrolled in Sol Studios to learn more about the encaustic practice and how I could incorporate this process into my current work. After a few workshops, I realized that I was becoming more interested in drawing to create plates but still wanted to involve the imagery of Heart. An unexpected development of working with soledad is that I started going back to using my drawing to create the plates and ended up not using encaustic but straight printmaking.

 Heart Series.

Ruby Yunis

These works are a part of my latest series, "Parallel Universes."
I feel there are other spaces and times that we cannot measure, and have explored this concept while working with Soledad in Sol Print Studios.
It has been a challenge for me to venture into the realm of solar etching, but the warm atmosphere and professionalism of Soledad’s workshop has made this possible and simultaneously captivating. It has been a great adventure of creativity, which has involved my heart and soul. It also allowed me to meet people who are precious and valuable as artists and human beings.
I will be participating with 12 solar prints of this series and other wax-encaustic, into a satellite exhibition Art Basel`s in December 2012 in Miami.

Parallel Universes, 2012. Parallel Universes II, 2012. Fractal, 2012.

  

Joe Kabriel
These “Café drawings” began when I was sitting in a coffee shop every morning with my sketchbook and a cup of coffee.   I produced 300 pen and ink drawings in a 7“x 9” sketchbook, with one drawing taking as long as 40 hours to finish.  Some days I would spend an hour working, other days, maybe two hours.  It could take as long as a month to finish a drawing. 

As the time past, I wanted a way to “transform” these drawings beyond their ordinary still life imagery.

For several months I experimented with various ideas; a handmade book, ink on acetate paper cast in resin, and encaustic wax.  These ideas never went beyond experimentation.

After taking the sketchbook over to Sol Studio and talking in length with Soledad Salame about the different possibilities; I began a process of combining solar etching and monotype printing.  It was a two step process that began with transferring the image of the drawing into a metal plate and printing a limited edition in blue black ink.  A different color was applied to a second plate, either red or blue, where I began lifting the ink in a process known as subtractive drawing.  This image was based on a loose interpretation of the first drawing.  The second plate was printed on the first print combining the images.

For me, the final prints processes an energy and spirit that transforms theses images from the obsession with the mundane into a truly one of a kind image that is full of kinetic energy and life.  

Detail from Red Book Series. 2012.

Gabriela Morawetz

Untitled I-IV, 2009.

_____________________________________________________________________________

Gallery Shots:

 Joyce Scott, Christine Neill, & Randi Reiss-McCormack

Pamela Phillips, Katherine Kavanaugh, Oletha DeVane, Gloria Askin, Joan Belmar, Leslie Portney, Soledad Salame.

You are Invited! Thursday at Stevenson University:

Stevenson University Show Press Release - First Impressions

First Impressions: Gallery Exhibition Features Sol Print Studio Artists, Through Nov. 30; Opening Reception, Oct. 11

6 - 8 pm.

Kevin Parker   October 7, 2012

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Detail from “Gulf Distortions” by Soledad Salamé

Stevenson University is hosting a gallery exhibition of prints by artists from Baltimore’s Sol Print Studios. The exhibition, “First Impressions,” runs now through November 30, 2012 in the St. Paul Companies Pavilion on Stevenson’s Greenspring campus, 1525 Greenspring Valley Road, Stevenson, MD 21153. The gallery is open to the public Mondays, Tuesdays, Wednesdays, and Fridays, 11 a.m.-5p.m., and Saturdays, 1-4 p.m.
A free opening reception will be held Thursday, October 11, 6-8 p.m.; and an art talk will be held on Tuesday, November 13, at 4 p.m., both in the St. Paul Companies Pavilion. The community is invited to attend.
Click here for directions to the Greenspring campus.
“First Impressions” features the work of the founder of Sol Print Studios, Soledad Salamé, as well as artists she has mentored in the fine art and nuanced techniques of printmaking, including Gloria Askin, Joan Belmar, Oletha DeVane, Joe Kabriel, Katherine Kavanaugh, Gabriella Morawetz, Christine Neill, Pamela Phillips, Leslie Portney, Randi Reiss-McCormack, Joyce Scott, and Ruby Yunis.
Educated in South America, Salamé studied printmaking and learned the process of Solar Etching from Dan Welden in the United States. In 2009, her installation “Where Do You Live? 3000 Miles of Maryland Coastline,” a 16-foot mural depicting the ways in which pollution and rising water levels affect the state of Maryland, was exhibited at the Contemporary Museum in Baltimore . In 2006, she created “Aguas Vivas” for the Museum of Bellas Artes in Santiago, Chile, a project about the importance of water, and in 2001 created a solo environmental installation in the National Museum of Bellas Artes in Santiago. Her work is represented in numerous private and public collections, including the National Museum of Women in the Arts in Washington, DC, the Baltimore Museum of Art, and the University of Essex, UK.  Currently living in Baltimore, Salamé is working to expand her Sol Print Studios, where she holds workshops and creates artist proof editions of Solar Etchings in combination with Monoprints, Silkscreens, and Encaustic.
For more information or to receive Art Effects, Stevenson’s biannual calendar of arts and cultural events, contact Diane DiSalvo, Director of Cultural Programs, at 443-334-2163 or e-mail: ddisalvo@stevenson.edu.

http://baltimore.citybizlist.com/contributed-article/first-impressions-gallery-exhibition-features-sol-print-studio-artists-through