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Selected examples of student work from printmaking, digital collage and drawing classes.
Labor, Omina, Vincit; Cyanotype with Silkscreen (ART 4063 Print Studio)
Still life, charcoal (ART 2023 Drawing II)
Portrait 1, charcoal (ART 2023 Drawing II)
Pandemic View, color pastel drawing (ART 2023 Drawing II)
Temporary Existence II (Original Sin); Reduction Relief with Serigraphy, Collage and Hand Sewing (ART 4063 Print Studio)
Self Portrait; Color Lithograph (5 plates); ART 4063 Print Studio)
The Brave, The Courageous and the Strong; Reduction Linocut (ART 2123 Print I)
Aunt Nadine; Serigraph (ART 4063 Print Studio)
Meadow Gold; Photo Etching (ART 7063 Print Studio)
Untitled; Monotype (5 colors); ART 2123 Print I
Veil; Woodcut (ART 7063 Print Studio)
Good Housekeeping; Serigraph (ART 7063 Print Studio)
Architecture Lesson #1; Color Lithograph (ART 7063 Print Studio)
Brothers; Linocut with chine-colle (ART 2123 Print I)
Conversation; Mezzotint (Art 7063 Print Studio)
Duets I; Photopolymer Etching (ART 4063 Print Studio)
Problem 4: Machine Play, screen print (ART 4063)
Boy; Linocut (ART 2123 Print I)
Untitled, Reduction Linocut (ART 4063 Print Studio)
Brown Thrasher, linocut (ART 2123 Print I)
Film Still: Les Yuex sans Visage, Color monotype (ART 2123 Print I)
The Sinking Seafarers, color woodcut (ART 4063)
Fragments, screen printing on ceramic forms (ART 4993 Ind. Study)
Untitled, lithograph with hand-sewing (ART 4063 Print Studio)
Ripples, 22-color screen print (ART 5063 Print Studio)
Dethroned, screen print (ART 4063 Print Studio)
Memento Mori, color linocut, 2 blocks (ART 4063 Print Studio)
Smile, screen print (ART 4063 Print Studio)
Ambiguity, Awareness, Anxiety; reduction linocut series (ART 4063 Print Studio)
Girls are Magic, lithograph (ART 4063 Print Studio)
Explorations in Decomposition III, embossed and relief printed panels degraded with dirt, water and mold (ART 7883 Research and Thesis)
Exploration in Decomposition, Installation; embossed and relief printed panels degraded with dirt, water and mold, cut and sewn together; hand-made embossed flies are suspended from ceiling. (ART 7983 Research / Thesis)
Stub Toe, installation; screen printed fabric, found materials, poly fill, embroidery, hand sewing (ART 7993 Ind. Study)
Dinner With Mother, digital college (ART 4863 Making Monsters)
Kraken, digital collage (ART 4863 Making Monsters)
Astro Boy, digital collage (ART 4863 Making Monsters)
Johnny, digital collage (ART 4863 Making Monsters)
Let’s Cook Outdoors! , digital collage (ART 4863 Making Monsters)
Everything’s Fine, digital collage (ART 4863 Making Monsters)
Mystorical Constructions
Mystorical Constructions began as a spin-off from my previous series Social Observations, as I was interested in continuing to depict social interactions and historical commentary, but wanted to experiment with developing non-linear narratives and using pre-existing source imagery. Drawing on varied sources from the Old Masters to popular imagery—from Albrecht Durer to Victorian clip art—I create seamless prints that belie their heterogeneous origins. This process is, as I see it, a form of “image sustainability,” a recycling of past imagery into new forms that combine digital technologies with hand-made processes of etching, sewing, and chine-collé. The resulting prints, from the series titled Mystorical Constructions, have prompted viewers to wonder not just how they were made, but when—are they historical artifacts or contemporary fictions?
Both monumental and intimate in scale, the historic images I re-purpose are seductive. They prompt in viewers a nostalgia for fairy tales and whimsical stories, and yet they also generate disquieting and open-ended narratives. Bird-women peer over an infirm patient in the woods—are they caregivers or life-takers? In another, a woman and child are adrift in a stormy sea—are they fleeing an unknown horror or escaping to safety? Similar to the Social Observations series, these works recreate modern experiences, but filtered through a historical lens.
Lithograph with serigraphy, collage and hand-sewing; 22" x 30"
Serigraph with collage and hand-sewing; 10" x 10"
Collaborative print with S. Clark, Serigraph on X-ray with collage; 12" x 9"
Serigraph with collage and hand-sewing; 20" x 15"
Serigraph with inkjet, beeswax and collage; 19" x 14"
Photopolymer Etching; 14" x 9"
Photopolymer Etching; 20" x 16"
Linocut; 27" x 21"
Linocut; 24" x 18"
Photopolymer Etching; 18" x 14"
Photopolymer Etching; 16" x 12"
Woodcut; 22" x 18"
Photopolymer Etching; 15" x 20"
Photopolymer Etching; 18" x 14"
Photopolymer Etching; 14" x 11"
Photopolymer Etching; 22" x 14"
Photopolymer Etching; 18" x 15"
michelle-martin(at)utulsa.edu
