Editioning Days and Business Stuff

Over the past few weeks I've been printing some of my linocuts again. People often ask me how long it takes to make a print. It's such a hard question to answer because there are so many stages to it. Usually the sketching, drawing and carving of the plate take a few months. Then comes the proofing and reworking the plate stage. Once I start printing, I usually print ten to twenty prints over the course of a few weeks, before I take a break to work on something different; all that printing is really labour intensive and yes, it does get tedious if I keep doing the same thing over and over again. I also don't want to have too many prints just sitting not knowing if they will sell or not. After printing, the prints need to be taped to wooden boards while they are damp so they can stretch and dry flat. Once they are dry, they need to be curated, i.e. little flaws need touching up and I have to sign each print. People sometimes wonder about my pricing. Easy math: an edition of 50 prints at $500 per print is $25,000! Wow! That's a lot of money, right? It usually takes me about 5 years to sell an edition of prints that sells really well, so divide $25,000 by 5 and I get $5,000 from one edition per year. That is before overhead costs. If I sell through a gallery, they take 40%-50% commission (which I'm perfectly ok with since they do their own advertising and they bring my work to the attention of different clients). The example is an average price range, since I have some prints that cost more and some that cost less. When I have several editions that sell well, I can get through a year comfortably and I am grateful, excited and thrilled to be able to make a living doing what I love! 

My Winnipeg VI

My Winnipeg VI. Linocut. 60x90cm. 2020.

My Winnipeg VI is finally finished. I'm happy I finally got there, considering I started working on the drawing in March or April I think, when M. was still super little. I'm happy how the linocut turned out. This is the first time I combine downtown landmarks with some of the Winnipeg neighbourhood imagery typical for my work. Since I've started using some micro carving tools of 1.5mm, I can carve much finer detail which I enjoy a lot. 

Here is an (edited) excerpt from an earlier post about the imagery in the print: Some of my favourite parts of the city are right at its centre where the Red River and the Assiniboine River fork, the extensive walkways in the area and the surrounding landmarks and neighbourhoods that give this city so much of its character. While I've depicted parts of downtown and Saint Boniface in previous prints, I've been meaning to make work that includes the relatively new Museum of Human Rights, the Upper Fort Garry Park, and Union Station. Also depicted are the Fortune Block and The Winnipeg Hotel. 

Printing the Linocut

Time for a print reveal sneak peek on a sunny morning in my studio. After some proofing and editing of the printing plate, I've finally started printing (proofs are on the pin board behind me). I pull the inked-up linoleum plate with a sheet of paper through the printing press. Now I need to stretch, dry and curate the prints. And then repeat, repeat, repeat. I'll post an image of the finished print soon.

Inking up Linocut Plate

I'm finally inking up my new linocut! For me the most magical moment of printmaking is when the image emerges for the first time in black. I pulled my first proof and I'm content with it, but as expected the plate needs some more work and cleaning up. I'll post an image of the print once it is finished...a bit more patience please!

New Winnipeg Linocut

It's been a while since I've posted new work. Since M. turned 8 months, I've been able to find some time and energy in the mornings to be in the studio again. I'm still learning to navigate being a mom and an artist. While I feel very busy working again, it also feels great to have some creative time and headspace. I am really grateful to have my studio at home, so I'm available if M. needs me and I don't have much stress with Covid-19 exposure or restrictions. I also absolutely love the heating table in my studio to carve linoleum on, because it softens it just right to make carving easier. 

I've started a new linocut in my Winnipeg series. Some of my favourite parts of city are right at its centre where the Red River and the Assiniboine River fork, the extensive walkways in the area and the surrounding landmarks and neighbourhoods that give this city so much of its character. While I've depicted parts of downtown and Saint Boniface in previous prints, I've been meaning to make work that includes the relatively new Museum of Human rights and the Upper Fort Garry Park. Since moving back to Winnipeg, living on the east side of the Red River has slightly changed my vantage point and I frequent different routes traveling through the city than I used to. I can't wait to proof this plate!

Fields of Light and Stone - Book Cover

Fields of Light and Stone, a poetry collection by Winnipeg writer Angeline Janel Schellenberg, published by the University of Alberta Press, has just been released. The book cover is a detail of a print of mine (Last Embrace). While bookstores are closed and the book launch has been postponed, you can order this book online from McNally Robinson: https://www.mcnallyrobinson.com/9781772125115/a-schellenberg/fields-of-light-stone?blnBKM=1

11th Triennale Mondiale de l'Estampe

I had a few studio days again for the first time in three months to make five small prints (15cmx15cm) for the 11th Triennale Mondiale de l'Estampe in Chamalières in France. I've been reusing some of the copper plates from my plate library to layer them to make some of my soy prints on a smaller scale. Soy III also includes one layer of a laser cut woodcut and Soy V has a chine-collé layer of a digital satellite print.
It sure is a new experience being in the studio with a baby around, but I'm glad it works (sort of).