As I mentioned early on, I was introduced to printmaking by graduate advisor and his wife. While I had a background in painting, drawing and a hybrid of the two (involving cattle markers, which I promise to post about), I didn't have any formal training in printmaking. This is where Adult Ed came into play. Let's face it, I was a graduate student and beyond broke. Without Santa Barbara City College's Adult Ed program I would never have had the money to afford the materials for printmaking and I certainly wouldn't have had access to a printing press. For just $45 for a 13 week course, it was a bargain. (Given the current economic crisis in California, the future of these classes remains unknown. But losing them will be like losing a part of the community). Each class lasted about 4 hours. I learned about classic oil based monoprints, but also learned about intaglio, chine colle', etching, and linocuts. For the first hour we learned a new technique and then Siu would allow us to work freely. From there I would plug in my iPod and go to work. I lost hours in that studio.
When I appeared in the class for the first time, I was nervous. (I can be shy in first meetings.) So I stuck close to my advisor, who reassured me that everyone was very nice and introduced me around. Little did I know I would meet some of the most fabulous people there, and learn a new technique to boot. My teacher, Siu, was committed to creating a friendly classroom environment. I was definitely the youngest participant in the class (Adult Ed attracts many retirees, they make up the majority of students), but no one seemed to care. We all had stories and images to share. Age was irrelevant. I grew to think of women like Jessica, Christine, Jana, Nancy and Margaret as my extended family. They were and are fabulous artists. I deeply miss the people who were in the class and who were members of the Santa Barbara Printmakers Association (You can see a lot of their work and learn more about them on their blog and see some of their work at the annual printmaker show). I think as an artist part of your essence is displayed in your work. This explains how these artists created such remarkable works. Their work is a reflection of who they are as people, and the classroom environment that Siu inspired.
Moving to Washington DC meant that I had to sort out a new venue for printmaking. As many artists know...it is mostly about practice. You evolve and develop as an artist by committing yourself to the work on a regular basis. So, once I arrived in DC I began the search for a printmaking studio that mimicked my experience in Santa Barbara and allowed me to continue to grow. I wanted to work in a space that gave me freedom, was a green environment, collaborative and had a sense of community. Nearly five years later, I am still searching.
During my first year in DC, my art was taking off. Not only did I have clients from shows and connections I made in California, but I was meeting new people in DC who were interested in purchasing my work. I needed a work space and quick. So, I signed up for a class at the Torpedo Factory. I was hopeful. When I had visited the galleries there I had met some nice people.
While I drove toward the studio I rethought everything I had in my bins and bags...baby oil and rubbing alcohol to clean my hands, brayers, plates, inks, q-tips for ink removal, paper and other necessities, like an old telephone book for discarding ink. When I walked in, it seemed to be a competitive environment from the get go (welcome to Washington, DC). While our class in Santa Barbara (which really became more like an open studio space for us to work in) was friendly, encouraging and collaborative, the studio here was very cold and quiet. I thought about Siu teaching us techniques to help maintain a non-toxic environment. There was really no need for turpentine. But here the instructor seemed to revel in the toxicity of the chemicals. When I asked her where we could clean our hands she said that she loved the idea of pouring turpentine directly on her hands to wash them off. We never looked at each other’s work, and people seemed to be there to take the class and then leave. There wasn't any sense of community.
I have since found art classes at Glen Echo, but I am not sure after my last class experience that more classes is what I need. I also found that you can rent printing space at Pyramid, but at $20 an hour for non-members, that can add up quickly. (It takes me at least an hour to ink a single plate). Pyramid sounds like the type of place that is best for well established printmakers who rely on master printers to press their work while you role plates. That is just not my cup of tea. I did find a resource for printmakers who hand-pull prints. But I still feel like I can't connect. Maybe what I am looking for is to move all my wonderful friends and colleagues from Santa Barbara to DC.
SO, what is a printmaker who has no venue to print to do? Throw on my Ben Davis Overalls and return to painting? Or continue to work with a rolling pin in my apartment? I supposed we will all have to wait and see. It might just be a time to return to cattle markers and oil paints.
