2020 Honolulu Printmakers Annual Exhibition
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2020 Honolulu Printmakers Annual Exhibition
Every year since 1933, the Honolulu Printmakers has commissioned a local
2020 printmaker to produce an edition of prints that the organization sells to its
members and the public to raise funds for its activities. The 2020 Gift Print
Artist is Marcia Pasqua.
Gift
Marcia Pasqua has been creating prints since the early 2000s, exploring a
Print variety of printmaking techniques including monoprints, relief, and more re-
cently, pochoir. Her creative process incorporates repetition and layering of
Artist lines, shapes and colors to create abstract patterns and compositions. She
has exhibited her art both locally and internationally and is represented in
Marcia various public and private collections including the Honolulu Museum of Art
and Hawai‘i State Foundation on Culture and the Arts.
Pasqua Marcia received her Bachelor of Fine Arts in Painting and Drawing from the
University of Hawai‘i at Manoa, then went on to study sculpture at Univer-
sity of Hawai‘i, and printmaking through various Honolulu Printmakers work-
shops.
The Gift Print is produced in a limited edition of 75 impressions, with prof-
its from sales going directly to support the work of the Honolulu Printmak-
ers. The first and second impressions are retained by the Honolulu Museum
of Art and the Honolulu Printmakers, respectively, for their archives. Go to
honoluluprintmakers.org to purchase.
2020 Gift Print Lipo Marcia Pasqua Pochoir My current work is characterized by the repetition of lines, shapes, and colors to create abstract patterns. For this piece, my intention was to create a contem- plative mood for the viewer, and perhaps offer a res- pite from the ordeals of daily life. The title, the Hawaiian word “lipo”, refers to the deep- dark blue of the ocean. Inherent to the term, though, is the notion of the diverse blue colors present within its depths. For me these colors have a transformative effect. I go to the ocean and immerse myself in the colors. I leave the ocean renewed. I didn’t try to match the colors of a particular locale in Hawai‘i. Instead, I worked intuitively to create an eight-color palette. I used pochoir, a printmaking tech- nique that employs the use of stencils, to reproduce my original design. Eight stencils were cut, one for each color. The colors were applied with pochoir pom- pon brushes. Various ink application techniques were used to produce textures and values.
ABOUT POCHOIR Like other printmaking techniques, pochoir began as a process for commercial reproduc- tion of printed images. As with those other techniques, artists soon discovered the po- tential of pochoir for more complex aesthetic statements. Pochoir is a stencil technique and, as a mem- ber of that family, has the longest lineage of any print process. The images of human hands, found in caves dating as far back as 35,000 years, exemplify the concept at the heart of stencil technique: the use of an inter- mediary layer to confine and control the ap- plication of color to a receiving surface. In the case of the cave images, the hand created a resist around which the artist blew pigment, creating a negative shape or silhouette. More often a stencil consists of a thin layer of ma- terial with cut-out shapes that allow the art- ist to limit the application of paint or ink to specific areas. The use of stencils may be found in several different cultural contexts. In 15th century Europe, for example, stencils were used to apply color to black-and-white woodcut illus- trations as well as playing cards. More con- temporary applications, utilizing spray paint, include official signage and graffiti. Screen- printing is a related process, stabilizing the stencil through application to a thin mesh layer that allows for more controlled applica- tion of ink. Pochoir—the term given to stencil printing in late 19th and early 20th century France—el- evated the process to a level of unique re- finement. Associated particularly with Art Nouveau and Art Deco, pochoir images were used extensively in fashion journals and foli- os of industrial, architectural, and interior de- sign and textiles, as well as pattern books for fabric and wallpaper design. The technique was also used to produce works by artists, including Man Ray, Henri Matisse, Fernand Léger, and Sonia Delaunay. Utilizing thin but durable sheets of aluminum, copper or zinc, and later, celluloid or plastic, skilled craftsmen would cut the stencils, of- ten in complex designs that could be tightly registered, and then pass them to the color- ists, who would use them to apply the pig- ment to the paper by brushing color into the open areas of the stencil. Gouache was the most often used medium, preferred for its density and richness of color. Because of its time- and labor-intensive nature, with all work done by hand, pochoir ultimately lost ground to more mechanized means of commercial print production, but artist-printmakers still appreciate the technique for its distinctive visual qualities. - Marcia Morse
honoluluprintmakers.org
MY STUDIO PRACTICE doing so, provoke a certain visual, intellectual and/
or emotional impression or message. The con-
I am interested in beauty, irony, inevitability, and tainers that hold them are mass-produced dispos-
the common and extraordinary way we structure able objects, such as a yogurt cup, a Styrofoam
our surroundings. I find beauty in the man-made take-out box, and an instant noodle bowl. These
spaces and objects, both handmade and commer- throwaway objects and cut flowers engage in a
cially mass-produced, that we surround ourselves dialogue that also speaks about impermanence
with. It is especially true when these spaces and and persistence.
objects subtly suggest a contradicting sense of
time that seems both temporary and lasting. I work alone in my studio, exploring ideas and pro-
There is truth and honesty in time, as all of us cesses that I am enamored with as I make art.
share the fate of impermanence. But the way we Most of the time, my studio practice fills me with
surround ourselves with collections of things, and complete joy and intellectual and creative satis-
shelter ourselves within the structures we build, faction. However, it can sometimes be an isolat-
it is as if we feel a sense of permanence through ing experience. In 2013, with two other artists,
these comforts. In my work, I make images and Katie Baldwin and Mariko Jesse, I began collabo-
forms that highlight everyday events, spaces, and rating on a body of work. It had initially grown
objects, that while insignificant and mundane, al- out of our desire to continue the dialogue that we
low us to notice both the stillness and the pas- have shared during our international mokuhanga
sage of time. artist residency in Japan in 2004, which is when
we first met. No longer sharing the same space
In my most recent series of works collectively ti- of the artist residency, but wanting to find ways to
tled Momentarily (2015-ongoing), I examine the continue the shared experience, we began mail-
idea of still life through time and materiality. Ob- ing one another editioned prints, artist books, or
serving the top of my kitchen table, as the daily objects that we made. These prints and objects
mail, grocery bags, and take-out dinners are set became a way to continue the creative dialogue,
and then quickly discarded (or left to pile up), I and over time, they became a collection of our
became keenly aware of time that is both tempo- long-distance conversations.
rary and lasting. The table top becomes a site for
staging an ever-present, yet always changing still Since its beginning in 2013, we have completed
life of a sort. The set-ups, which consists of items two collections that are housed in hand-made
such as a take-out dinner, grocery bags, and the clamshell boxes and we are currently work-
daily mail, are brief and temporary, and the in- ing on our third. We became a collective called
tended timespan of these disposable objects are wood+paper+box, taking the name from our first
short, typically meant to be used only once. But collaborative project. What started as an experi-
as materials, they often last longer than their in- mental exercise has now become a significant
tended lifespans. part of my creative endeavor, and it has also
opened up possibilities into the area of book arts
I transform their physical presence by recontextu- for me as an individual artist.
alizing these objects through new materials and
new contexts. For example, my daily drawings Currently, as I continue the wood+paper+box
depicting junk mail piles are collected and then collaborative work and my own individual prints,
made into a large stack of tabloid newspapers drawings, and sculptures, I am also beginning a
(another form of junk mail); A Styrofoam take-out new project titled Ephemera, et cetera. I am con-
container in a plastic bag with a generic ‘Thank tinuing my explorations into the idea of time and
You’ message printed on it is then meticulously man-made objects, while further engaging in the
re-created as a sculpture using slip cast, glazed depiction of material culture and printed media.
porcelain and lithograph printed on Gampi pa- I have become interested in the material culture
per, which is then hand constructed into a bag that is a consequence of an event or action, both
form. While these are faithful and earnest rec- everyday and special. Experiences are of a tem-
reations of reality, the slight shift in their context porary nature, but can often result in a tangible
and materials brings about a shift in the sense of byproduct, such as a vacation postcard, a dispos-
time, place, and purpose. By doing so, I hope able cup, a direction scribbled on a piece of paper,
to explore the notions of familiarity, materiality, or a concert ticket. These items as a collection
ephemerality, and persistence. are defined as ephemera. They hold the potential
for being discarded and cherished, temporary and
In the Arranged Flowers series (2009-ongoing), lasting. I envision that this body of works will also
I make prints and paintings using images of cut allow me to examine the idea of artists’ books
flower arrangements. The flowers, once cut from further, exploring the properties of artists’ books
their roots, have only a short remaining time to and the notion of collection.
live, and they will quickly wither and die. But be-
fore they do, they are elegantly and elaborately -Yoonmi Nam
arranged, as if time will stand still for them. It is
not necessarily within the general area of nature
or botany that I place my interest. Rather, I am
attracted to the beauty, irony and artistry of flow- top to bottom:
er arrangement. I am interested in the idea of Guys and Fries, lithograph, 2018
cutting flowers, and artificially organizing them to M, lithograph, 2018
Winstead’s, lithograph, 2018
create the illusion of a natural environment, and in
I thoroughly enjoy the process of discov-
ering artists and their work that I am not
already familiar with… I am profoundly im-
pressed and moved by so many wonderful
art works that are being made by so many
artists all over the world. Especially when it
comes to printmaking, being a printmaker
myself, it gives me joy to see the visible
passion that we all share.
It is difficult to say what I will be looking
for specifically, because I believe it is about
how it all comes together as a whole. Sev-
eral different works may come together and
start a dialogue that may be hard to ignore.
Something that might be quite surprising
that I didn’t anticipate may tug at me even
if I am not sure I like it. That said, I value
an ease and logic in the relationship be-
tween process and image. I also appreciate
it when a work is surprising, provoking, and
unexpected both technically and conceptu-
ally. I applaud both the mastery of a print
technique as well as a challenge to the print
tradition. It is gratifying to see the thoughtful
selection and curation the applicants make
in the small grouping of works they present.
Ultimately, beyond technical proficiency
and eye-catching imagery, I know I will be
moved by authentic and sincere voices.
I am grateful to be given the opportunity
to be inspired and amazed in the presence
of your works, and I look forward to seeing
them and to meeting you.
Yoonmi Nam’s work considers cross-cultural
2020
experiences and a sense of transience through
observations of everyday objects and occur-
rences. In her prints, drawings, sculptural
Annual
works, and installations, she uses familiar dis-
posable objects and cut flower arrangements
as subject matter and explores their materiality,
ephemerality, persistence, and the common
and extraordinary way we structure our sur-
roundings. Exhibition
Born and raised in Seoul, South Korea, Yoonmi
received a B.F.A. degree in Printmaking from
Hong-Ik University in Seoul, Korea. She moved
Juror
Yoonmi
to the U.S. to study at the Rhode Island School
of Design, where she received an M.F.A. de-
gree in Painting/Printmaking in 2000. Yoonmi
has received numerous grants and awards to
support her studio practice and travel. Some
notable achievements include a Solo Exhibi-
tion Award from The Print Center in Philadel-
Nam
phia, MI-LAB Artist Residency Award in Japan,
The Hall Center Creative Work Fellowship at
The University of Kansas, and the Ngawang
Choephel Fellowship from the U.S. State De-
partment. Her work is in the collections of the
RISD Museum, RI; Spencer Museum of Art,
KS; and the Beach Museum of Art, KS; among
others, and has been shown both nationally
and internationally including countries such
as Japan, New Zealand, Scotland, Korea, Ger-
many, Poland, Mexico, Bulgaria, Italy, Sweden,
and Paraguay. Yoonmi has taught at RISD and
Washington University in St. Louis. Currently,
she teaches at the University of Kansas, where
she has been a faculty member since 2001.
MARGARET BARNABY DUNCAN DEMPSTER LYNN HAIA
Spring Wind littoral Stop 1
multiple plate wood block print screenprint on plywood relief woodcut with chine colle
MARGARET BARNABY DUNCAN DEMPSTER LYNN HAIA
Okavango Monochrome smallercluster Stop 2
multiple plate wood block print woodcut relief woodcut with chine colle
REGINA BODE DOUBLE DOG DARE STUDIO (Sally French, SHARON HEITZENRODER
In Repose Scott Groeniger, Nick Potter, Kirsten Rae Collect Me
monoprint, drypoint, chine colle Simonsen) digital print
Untitled: Space Oddity (home again)
DONNA BRODER poly-plate litho, digital archival pigment, SHARON HEITZENRODER
For the Sake of Simplicity colored pencil Alien
monotype digtial print
ASHTON ELLIS
ALLYN BROMLEY Queens TERRY HILDEBRAND
On Having a Word With My Mother screenprint Minuet in Six Colors
screenprint on reclaimed plastic relief, woodcut, 6-color
HOWARD FARRANT
PRATISHA BUDHIRAJA rage against the dying of the light TIANA HONDA
Ag47 drypoint MINU GA HANA 「見ぬが花」
intaglio and relief intaglio - etching, aquatint, digital, chine colle
HOWARD FARRANT
PRATISHA BUDHIRAJA Where do we go in dreams? TIANA HONDA
9 Bags hand colored drypoint CONSUME 「食い切る」
intaglio and relief reductive single plate intaglio etching
AILEEN FELDMAN & aquatint
PRATISHA BUDHIRAJA Endangered Species
Anthropocene risograph TIANA HONDA
relief EXUDE 「滲み出る」
CASSIE FERGUSON reductive single plate intaglio etching
JARON CHATANI Ubiquity & aquatint
Three Wolves Together Clinging stone Lithograph, monoprint
linocut print LESLIE HOPF
PAUL GALANG Juxtapose
JARON CHATANI Sequential Upgrowth relief monoprint, mixed media resin and
Fecund lithograph enamel paint
digital archival pigment print
PAUL GALANG LESLIE HOPF
JARON CHATANI Mark of Verity Penne
Lottie’s Trailer lithograph, chine collé mixed media , etching, silk screen and collage
linocut print
SONNY GANADEN ANNE IRONS
JARON CHATANI Kuya Joseph Kahahawai, Martyr of Kalihi connections lead to understanding
Fertile relief, lithograph monotype
digital archival pigment print
MONICA GARRETT MING LI JIANG
ROSIE CONNELLY Moonlight’s Drip #1 Voice of Ancients
TechTych multi-plate collagraph with hand-coloring woodblock print
screenprint
JON GOEBEL STEVEN KEAN
ROBERT CORSAIR Seed Parallax
untitled Intaglio: drypoint and aquatint woodcut
monoprint
JON GOEBEL STEVEN KEAN
HANNAH CRAFT Shifting Ground Sea Fold
Polyptych (from the Flat Stuff du Makiki Se- etching and aquatint woodcut
ries)
embossing on cinefoil JENNIFER GOYA KATHY KELLEY
Remember The Time - Elation
KAWELINA CRUZ http://bit.ly/rememberthistoo monoprint/multimedia
Release computer drawing and website
intaglio and screenprint YOO SOO KIM
SCOTT GROENIGER We are the Breath of the Earth
HEIDE CUMES On Floating Bodies [Falkirk] monoprint
Entropy: AV Truck digital achival pigment print on kozo adhered
mokuhanga to wood panel JIHAE KWON
Abandoned Cars
DUNCAN DEMPSTER LALI GROTH lithography, inkjet printing, and cut paper
country Les Fleurs de Joie
screenprint on plywood monotype ILEANA LEE
Quartet
monoprint, chine colle, collageALAN LEVY DIETER RUNGE NAKEMIAH WILLIAMS
Aloha Kaua’i ‘O’o Aid Mc Spade Look Back
monoprint woodcut on mulberry paper Archival Pigment Print
ALAN LEVY DIETER RUNGE KIARA WOMACK
Perfect Balance The Pope Please
monoprint woodcut on mulberry paper Intaglio- copper plate etching, dry point,
screwdriver punching
JESSICA LOEFFLER KAMRAN SAMIMI
Depths of Dark Tessellation KIARA WOMACK
intaglio - etching & aquatint & soft ground relief print from stone, chine-collé Please
Intaglio- copper plate etched embossing
ELIZABETH LOWREY KAMRAN SAMIMI
Shifting Seasons Blue Earth GEORGE WOOLLARD
monoprint with chine colle ink rubbing from stone, watercolor Zephyr
mixed media mono print
DWIGHT LOWREY ERICA SANTOS
Meubles Serendipity GEORGE WOOLLARD
monoprint lithograph Apex
mixed media mono print
NAOISE MAGEE BRENNAN SIMCOCK
L&L on Liliha St Feather, fur and fin NADINE YOKOTAKE
relief intaglio with chine colle Ghosts
maniere noir lithograph
KRISTIN MCANDREWS LAURA SMITH
You What? Water Dress YUHUAN ZHANG
monoprint woodcut, stencils Hometown: Yangzi River
monoprint and drypoint
MARCIA MORSE LAURA SMITH
Thicket It was a Hot Day
mixed media (photogravure, text, wood) woodcut, risograph, winged book structure Honolulu
DEBORAH NEHMAD
targeted dissonance II
LINDA SPADARO
Gimme Shelter Printmakers
direct gravure on gampi chine colle
on Somerset
monoprint - drypoint with chine colle
LINDA SPADARO
92nd
DEBORAH NEHMAD
targeted dissonance III
Golden Hour
monoprint - drypoint and chine colle
Annual
direct gravure on gampi chine colle
on Somerset MICHAEL TAKEMOTO
Sumie Etching 04
Exhibition
DEBORAH NEHMAD Solar plate etching
targeted dissonance V 1/15/20 – 2/14/20
direct gravure on gampi chine colle EILEEN TOWATA Honolulu Museum Of Art School
on Somerset Midnight at Bitter Creek
1111 Victoria Street
Screenprint
PAULA NOKES
Honolulu, HI 96814
Our House EILEEN TOWATA YOONMI NAM
chine collè and drypoint print Waiting for Lunch
Juror and Visiting Artist
Screenprint with watercolor detail
MATT OKAHATA
DiscordoftheGoddesses CHIHO USHIO MARCIA PASQUA
monoprint and woodblock Alchemy 2020 Gift Print Artist
Stone lithography, Paper Lithography,
MATT OKAHATA Screen Printing AWARD DONORS
Abundance Jean Charlot Foundation, The Fine
woodblock PAUL WEISSMAN Art Associates, Kelly Sueda Fine
Lux Art, Hawaiian Graphics, Pegge
ERIC ORDORICA Lithograph, 24k gold Hopper and the Pegge Hopper Gal-
Eva lery, Left Wing Right Brain Fund of
archival pigment print JARED WICKWARE the Hawaii Community Founda-
Simple Pleasures tion, Sanne Higgins, Sharon Twigg-
ERIC ORDORICA copper engraving Smith, Marcy & Bob Katz, Diane
Lupe Ko, Marcia Morse, The John Chin
archival pigment print NAKEMIAH WILLIAMS Young Foundation, and several
Dinner for 1 anonymous donors.
JULIE PETERSON Archival Pigment Print
Transparent Mahalo to all of the countless
woodcut with gold leaf NAKEMIAH WILLIAMS volunteers who made this exhibition
possible.
Unhang
MAYA PORTNER Archival Pigment Print Go to honoluluprintmakers.org for
Shuffled Attributes of a Tower Crane information about the work in this
digital machine embroidery exhibition.ABOUT HONOLULU PRINTMAKERS
Honolulu Printmakers, founded in 1928, is a nonprofit arts organization
dedicated to promoting print culture in the State of Hawaii. We fulfill our
mission by running a community access printmaking studio, organizing
exhibition opportunities and artist residencies, and conducting educa-
tional outreach and demonstrations in the community. Our studio is lo-
cated at the Honolulu Museum of Art School, please stop by for a visit
-- we’d love to get you involved!
Become a member of Honolulu Printmakers
Your membership supports printmaking activities in Hawai‘i such as exhibitions, newsletters, open
houses, visiting artists, classes and demonstrations, school outreach, and a community-access print-
ing studio for Hawai‘i printmakers. Go to honoluluprintmakers.org to join or find out more.
BASIC - $25/year OPEN PRINT STUDIO
Members at this level are artists, printmakers, collectors, Studio fees are $20/day, $50/month, $125/quarter, or
supporters -- anyone who cares about printmaking and $450/year. This covers inks, press time, solvents, chemi-
wants to stay informed about and contribute to our activi- cals, stones, Plexiglas, etc. Printers provide their own
ties. Basic members receive all mailings and discounts, paper and metal plates, along with incidental tools and
but may not use the studio (HMAS students excepted). materials. We have complete facilities for intaglio, relief,
monotypes, lithography, and screenprinting. A volunteer
STUDIO - $50/year shop assistant will orientate you to the workshop, but
Those in the Studio category comprise the bulk of our you are expected to function independently. Printers
membership, and enjoy access to open studio in addition need to be members of the Honolulu Printmakers.
to all of the benefits above. Studio members have book
and tool borrowing privileges from the Printmakers’ facil- STUDIO HOURS
ity, and have the option to reserve exclusive after-hours Monday 9am - 5pm
edition-printing time. Tuesday closed
Wednesday 1pm - 9pm
PATRON - $250/year Thursday 9am - 9pm
Patrons are steadfast supporters who believe in the Print- Friday 9am - 5pm
makers mission and are motivated to make a significant Saturday 1pm - 5pm
contribution. Patrons enjoy all the benefits described Sunday 9am - 9pm
above, and in appreciation, receive a special Patron Print
of their choosing from the Honolulu Printmakers collec- Open Studio hours are subject to change.
tor’s archive.
To see the latest hours and holiday closures check our
PROFESSIONAL - $550/year website or follow us on social media.
Our all-inclusive category of membership is designed You may join online at our website, or download a mem-
with convenience in mind for the active print artist who bership form and mail it in. Membership forms are also
wants to show up paid-in-full and fully equipped without available in the studio.
having to keep track of studio fees. Includes all benefits
of studio membership, a year of studio fees, plus the use
of a flat file drawer and 16 hours of prepaid after-hours
studio use.
2019-2020 BOARD OF DIRECTORS HONOLULU PRINTMAKERS
PRESIDENT John McCaskill
Honolulu Museum of Art School
VICE PRESIDENT Hannah Craft
1111 Victoria Street
SECRETARY Paul Galang
Honolulu, HI 96814
TREASURER Paul Weissman
808-536-5507
DIRECTORS Jeffrey Davis, Brady Evans, Sam Guerrero,
Leslie Hopf, Alan Levy, Elizabeth Lowrey, Dieter Runge, duncan@honoluluprintmakers.org
April Sham, Laura Smith, Yuhuan Zhang honoluluprintmakers.tumblr.com
like us on facebook
EXECUTIVE DIRECTOR Duncan F. Dempster Jr. instagram: @honoluluprintmakers
twitter: honprintmakers
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