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Posts Tagged ‘printmaking courses Spain’

“Three days with Maureen helped me find my former artistic self.”

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Kate MacKinnon is one of those unusual people who thrive on learning and never stop. She just spent three days in the studio with Maureen and got stuck into a new challenge: printmaking. As with everything else, she’s serious about it.

Kate graduated with a degree in psychology from Hobart William Smith Colleges, a great little liberal arts school in upstate New York, then hitchhiked around Europe for four months before going to work in 1989 for Chase Manhattan Bank–which later became part of JP Morgan Chase–and stayed there until 2017 when she took an early retirement.

She seemingly came out of that experience unscathed. She’s not the least bit “bankish;” in fact she’s eminently normal. So how did she manage it? “I always worked in technology,” she says, “and I was surrounded by intelligent people. I learned on the job, from them. I had some people skills.” Kate underrates herself. Her people skills are such that she could swim in shark-infested waters if she had to.

Asked what she discovered working with Maureen she replies, “I discovered how much she knows about printmaking and, just as important as that, how willing she is to share her knowledge. Time spent with Maureen in the studio one-on-one not only teaches you printmaking. She also conveys some rich lifestyle wisdom. Some of it’s Spanish, some of it’s of her own creation. She’s living every artist’s dream.”

“One of the great things about working with Maureen is the accommodation. It’s a cabin built into a mountainside with great comfort, workspace, privacy and views. I slept well the first night and on the second day started taking siestas. And there’s an added attraction. It’s just 40 steps–I counted them.–from the studio.”

 

 

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An International Group of Young Artists from IB Bremen Get Into Inked Plates

Brenda Eubanks-Ahrens is back this year with the cream of her art class from the International Baccalaureate School from Bremen, Germany, eight young people with artistic leanings. I’m always impressed when I see just how serious they are about image making. It’s so satisfying working with these kids. For most of them it’s the first time they’ve ever been in an artist’s studio, and I feel privileged to have introduced them to their first one. Perhaps a bit of art magic will stay with them throughout their lives.

The weather was perfect; we ate out on the terrace in the shade of the grape vines every day. Mike was the cook and almost didn’t have enough time to make the photographs. In the end he was able to supplement those he made with some that my assistant, María José, made with her cell phone. (Thank you María José.)

Here are the photographs:

 

 

 

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Not having done fine art prints before she’s making up for lost time.
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Tasmanian artist, Frances Parker, and her husband, Mike, arrived last Sunday. Monday morning at nine she stepped into my studio and, after a 15-minute introduction, sat down to make her first print. At the end of that day she saw it come out of the etching press, having made not a single wrong move. The print could have been made by a professional. It was clear to me then that she was an experienced and talented artist who had been needing to make fine-art prints for a long time.

It’s the end of the week now, and we’ve just put the last of her work in the press so she can take it home nice and flat. Her new house includes beautiful studio space and a nearby friend has an etching press where she can also work. I’m looking forward to seeing the prints she produces over the next few years.
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Frances and Mike had unusually good luck as the dates of their visit coincided with the annual “Fiestas Patronales” in our village. (You can see my husband Mike’s photos of one night of the fiesta here.) So every evening there were lots of activities, lots of music and dancing and lots of exotic tapas with the beer, in all an intensive course in fiesta.

Photos by Mike Booth and Mike Parker

.Thanks for sharing.

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Homenaje a Maureen

Somos Pineros

Homenaje a Maureen.
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Karen Urquhart is an Australian girl who arrived at my workshop via London, where she has lived for eight years. Shortly after arriving she declared that her objective with this workshop was to enable her to fill out her printmaking skill set in order to set up her own studio when she got home. That’s a pretty big order for a 10-day workshop, but we set to work systematically using solarplate and liquid metal techniques.

Karen, who had done summer printmaking courses previously, had some grounding in printmaking, but more important than that she had a willingness to work long and hard. We would work mornings from 9:00 until 2:00 and after lunch she would go back down to the studio by herself and work past 9:00 p.m. I think that dedication shows in the work she produced while she was here (see photos below).

Karen has a lot of good ideas of her own, which made our creative time together very interesting.She liked very much the liquid metal technique and found ways of combining it with solar plates to achieve some surprising results.

It’s been great working with you, Karen. Come back and see us when you can.

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Most of the Butterflies Were in My Stomach

Miguel Ángel Castillo phoned the other day asking if I wanted to play a small part of a veteran butterfly activist in his latest film. I said sure. Could they shoot in my studio? Sure. Ever since I worked with Juan Carlos Romera on ¡Bive! seven or eight years ago I have been entranced with movie making. (Juan Carlos also made my printmaking tutorial videos.)

Miguel Ángel is a retired science professor who is full of the kind of creative energy the Spanish call “inquietudes.” He is a butterfly activist with his own mariposarium at home, he makes short films and he takes excellent care of his friends. Asked what got him into film making he says, “I always wanted to try it, and when I did I loved the process. Also it’s an opportunity to be in contact with bright, talented young people. I find that very enriching.” Don’t be tempted to think that his film is one of those boring ecological treatises. It actually has an assassination in it. though it lacks a helicopter.

So, Miguel Ángel and his crew of seven technicians and actors showed up yesterday morning and started running cables and setting up lights and the camera. It was a hot day and it took us till 3:00 p.m. to shoot what was was essentially three scenes, so we were thirsty, worn out and starving when we finished.

Miguel Ángel was right on cue. “Where’s the nearest place to get a nice lunch?” he said. “I’m inviting.” Mike suggested Casa Guillermo, just down the hill in our village. The food is good there and we could sit at the tables on the river’s edge. The meal which lasted from three until five, included a wonderful selection of Andalusian soul food: jamon serrano, pipirrana salad, grilled morcilla and alonganiza, churrasco steak, chicken and ham croquetas, pitchers of beer and assorted soft drinks; one fundamentalist actually drank water, with ice cream and kinky little cylindrical cakes for dessert) lasted from three until five.

One of the best dishes was papas a lo pobre, (“poor man’s potatoes) sliced potatoes with green peppers stewed in quite a lot of olive oil. Jordi, the sound man from Valencia, wrinkling his nose disapprovingly, asked, “What’s that puddle under the potatoes, oil?” “Yes,” I said, handing him a slice of bread. “Here, dip some bread in it,” and I showed him how it was done. Jordi became an instant devotee of papas a lo pobre and an expert olive oil soaker upper. (Don’t try this at home with just any old olive oil. Ideally it should be the silky golden aceite de oliva virgen extra from our village, Pinos Genil.)

The crew had a two-hour drive back to Almería, but Mike and I were home in less than five minutes, stripped off as we were descending the garden stairs, showered in the hose, dried off and hopped into bed, where we stayed for hottest three and a half hours of a 39ºC (102.2F) day. There’s nothing wrong with a day in which you get up from your siesta (just a bit groggy) at 9:00 p.m.

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In recent months a couple of my galleries in Granada have been asking, “Could you make us some miniature prints?” These are my first proofs.

 

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