Wednesday, August 13, 2008

CARR at KAZA - Artist Reception




Art. Cheese. Wine. Does it get any better?







Meet talented artist, Barbara Carr at KAZA's Artist reception
Thursday,28 August 2008 from 4-7pm.

KAZA is proud to feature Artist, Barbara Carr through Mid-September 2008

Barbara Carr's work has such fine detail. Many of her pieces have deeper meaning than what a simple glance will tell you. It takes a more patient eye to truly appreciate the hidden humour and/or meaning behind each piece. Barbara pays incredible attention to detail --including the gorgeous exotic papers she uses for each print.

Each piece is matted, framed and ready to hang.

A bit about the Artist, Barbara Carr:

The Artist:
Barbara Carr is a BFA graduate of Massachusetts College of Art, where she majored in painting and drawing. In addition, she studied figure drawing at the Slade School in London. Carr has also studied with Joseph L. C. Santoro, King Coffin, Ron Bowen and Philip Morse. Her main medium is oil, but she also enjoys painting in watercolor and pastel, drawing in charcoal and making fine art prints, particularly woodcuts. She finds many of her favorite subjects near her home and studio in the woods of Salisbury, New Hampshire.

The Prints:
These relief prints are all original works of art, created from scratch by the artist and printed by hand. They are not the same as reproductions, which are sometimes labeled as “giclee prints.” Some are printed as “limited editions,” and are marked with their numbers, such as 5/25. Others are “open” editions, which have no set number.
As with most artwork, these original prints should be hung out of direct sunlight, in a place where moisture can’t reach them.

The Procedure:
“My inspiration is the natural world. A drawing, either one I’ve done on site or from a photo, is the starting point for all of my prints. I transfer the drawing, in reverse, to the block by rubbing the back of the paper, then draw over it with a sharpie to make it permanent. The design is cut with Japanese knives into one or more woodblocks. Sometimes I use the same procedure with linoleum mounted on a block of wood. Then I roll ink onto the high spots left, lay a piece of paper on top and rub the back with a baren or my wooden ‘spoonula.’ Occasionally, I’ll use a stamp to apply ink, or will add watercolor once the ink is dry.”

The Inks:
“Most of the inks I use are oil-based, from Daniel Smith or Graphic Chemical. They are very lightfast, are permanent, and cover the paper well.”

The Papers:
“All of the papers I use are archival and acid-free. Japanese Mulberry is a paper I use most often for prints. It’s the one that’s most often meant when someone says ‘rice paper,’ though there are very few papers made that actually contain any rice fibers. Another is Rives BFK, which is a heavy paper made in France, often used for etchings. As it holds up well when dampened, I often use it for prints that will have watercolor added later, such as Queen II. The highly colored papers, such as in the small print ‘Beetle,’ are the silky ‘Lama Li,’ which is made by hand in the mountains of Nepal. It’s made from the inner bark of the Lokta bush, which is one of the strongest paper fibers. It provides a renewable resource for Nepalese artisans, as new growth regenerates quickly. In some cases, I’ll find a special paper for a specific print, such as the banana fiber paper I used for ‘Tarantula.’”

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