(Left) Kate Baker, Untitled, 2013. Enamel and kilnformed glass, 14 x 10 x .625 inches. (Right) Stacy Lynn Smith, Binary Descent, 2013. Powder printed kilnformed glass, 10 x 14 x .5 inches.
Printmaking meets kilnformed glass in an exchange between eight international artists, curated by Louise Krampien and Stacy Lynn Smith.
Krampien and Smith invited eight artists from the United States, Europe, and Australia to participate in a glass-print exchange. A traditional print exchange asks artists to produce an edition of identical prints that will then be traded. Each artist, in exchange for his or her work, will receive one print from every other artist. For Multiply, each artist produced an edition of glassworks using printmaking techniques. For Multiply, each artist produced an edition of glassworks using printmaking techniques. The exhibition includes work by Julie Alland (California), Kate Baker (Australia), Joseph Cavalieri (New York), Louise Krampien (Oregon), Silvia Levenson (Italy), Morgan Madison (Washington), Catharine Newell (Oregon), and Stacy Lynn Smith (Oregon)
As a medium for printmaking, glass allows artists to explore aesthetic and conceptual qualities that differ from traditional printmaking techniques. With glass, a print can have physical depth, surprising textures, varied surfaces, and transparency. Combining the two media brings together two histories that materially are quite different but have paralleled one another. During the industrial revolution, the craft traditions of each media were supplanted by manufacturing techniques. Today the hand-pulled print or hand-formed glass artwork holds significance in contrast to the ubiquity of print media and disposable mass-produced glass vessels. Artists and artisans seek to maintain traditions while simultaneously pushing the boundaries of what these materials are able to communicate.