Kathryn Maxwell

Discussing ideas with Derek.

At the end of February, I visited Ohio University in Athens, Ohio . Professors Art Werger and Karla Hackenmiller had invited me to spend 4 days as a visiting artist and work with the graduate students. After initial discussion with the grad students in the spring of 2011 and then again via Skype in January 2012, I decided I wanted to do a temporary installation that involved the students not only in the physical completion but also in some part of the conceptual and visual development of the piece.

Preparing to print.

Before leaving Tempe, I had conceived of a small installation that explored concepts related to inside/outside, aspects of the gaze as well as issues related to the artist (as a collective rather than an individual). The space would be defined by a series of banners  that referenced those used to create barriers, those for celebrations (like birthday parties), and prayer flags. These would be held up by small posts and surround a black stool and a pointed hat that was suspended above the stool.

Close up of printed hat.

The hat was a very specific pointed shape similar to that is typically associated with magicians as well as dunces. (The magician reference was highlighted by printing images of constellations on the hat.)  Both of these, in conjunction with the empty stool, represented the artist and differing viewpoints, both internal and external, of the artist. (One of the grads also pointed out it was similar to a party or birthday hat–I had noticed that during the original concept design but was ultimately pleased with the references to party contained within the overall installation!)

Derek & I hanging the hat.

The interior of the banners had been pre-printed with eyeballs before my arrival in Athens. (The pink blend for the ground came later.) These were to face in toward the empty stool but would be visible to the observer as well. After a day of discussing my concept and asking the students for input on concepts and images, I began designing the outside of the banners, utilizing some imagery and ideas from the students in combination with some of my own.  This combination of many artists’ imagery and ideas on the outside of the banners helped convey a sense of the artist as a collective concept rather than any individual artist.

It was a very busy 4 days but with the help of the graduate students (Ax, Sage, Kayla, Shana, Joey,

Ax, Sage, Kayla and Joey working on setting up the banners.

Derek, Adam, and Bobby) and the print faculty (Karla, Art and Danielle), we managed to print 5 different banners, the interior of the banners, cut and fold the banners, print and coat the hat with glitter, paint the stools, paint and assemble the stands, find a location for the installation, AND install the whole thing in the lobby of the library. Without the assistance of these talented and hard-working individuals, the installation could not have been completed. The artist “collective” really came together to help realize one artist’s vision!

prayer flags at Trongsa Dzong

This past July, I was fortunate to travel to the Himalayan country of Bhutan. This beautiful, but tiny country, only opened to foreigners in 1974. Visitors, while not restricted in number,  are granted visas only for the exact length of their stay and pay a steep daily fee for the privilege of visiting. But what a privilege it is! The country has no heavy industry and has carefully controlled the use and development of its natural resources. The native culture has been preserved and is evident daily in the dress of the people. Gorgeous Buddhist monasteries are scattered throughout the country. I could easily go on.

Relief block with inking equipment

It is through the Buddhist religion that one encounters printmaking in the country; there is no tradition of “fine art” printmaking in Bhutan. Instead, one finds prayer flags and printed “books” of scriptures. The books are not bound. They are long, loose sheets of paper, printed on both sides that are used by the monks and nuns during the chanting of scriptures.

printed scriptures

The printing was, and still is, done with hand carved wood blocks onto either paper or cloth. Wealthier homes would have their own supply of  blocks  with prayers or scriptures that were available for use by those in the surrounding vicinity. The inks were made of  soot, a local type of alcoholic drink, molasses and glue  and applied with a rudimentary roller.  These were then pressed by hand or with a simple screw type press on the paper or cloth. Basic, yes, but it did the job. Of course, the technique of carving a block, inking the block and pressing the image onto the substrate is the same basic technique that is practiced throughout the world today.

Monks using printed scriptures