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In my previous creative endeavors, I employed woodcarving as a means to transcend the limitations of paper-based drawing, exploring the potential of wood as an open and versatile medium. During Unit 3, I sought to incorporate woodcut printmaking into my practice to reconstruct my approach to painting, challenging habitual methods and fostering innovation. More significantly, this cross-disciplinary engagement aimed to establish a critical dialogue with contemporary contexts. This process not only prompts a reflection on outdated artistic standards but also fosters the continuous evolution of my personal visual language. I view the process of woodcut printmaking as an opportunity to reevaluate and deconstruct appropriated imagery, offering new perspectives and strategies for creation.

 

 

I discovered the works of Portia Zvavahera on the David Zwirner Gallery website, and her integration of painting and printmaking techniques profoundly resonated with me. Zvavahera's practice exemplifies not only a technical exploration of media interaction but also a conceptual innovation that challenges conventional painting methods through layering and abstraction. In works such as Whose Hand and Cosmic Prayer, she seamlessly integrates the indirect nature of printmaking with the directness of painting, creating a dynamic interplay between marks and emotive expressions.  

As Zvavahera explains, “To incorporate printmaking into painting, I must understand when, why, and how to integrate it” (David Zwirner, 2022). This process requires meticulous consideration of procedurality and layering while maintaining an acute awareness of the material's marks and effects. Zvavahera’s approach elevates printmaking from a mere technical process to a conceptual operation, offering profound insights: the choice of medium need not adhere to tradition but should instead contribute to a redefinition of artistic language through conceptual renewal.

 

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In my work Armor, I explored the integration of woodcut printmaking and oil painting, marking a transformative shift in my creative methodology during Unit 3. This exploration not only bridged the gap between two distinct media but also facilitated a rethinking of visual language and compositional logic.  

Woodcut printmaking, with its inherent indirectness, demands a high degree of abstraction and synthesis, requiring the elimination of superfluous details to retain only essential elements. This distillation process encouraged me to contemplate how printmaking and painting could complement one another while challenging my preconceived notions about the limitations of printmaking as a medium. Gradually, this exploration allowed me to cultivate a personalized printmaking language.  

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In Armor, I appropriated Gustav Klimt’s  Pallas Athena as the foundational image. Klimt’s portrayal of  Athena, a symbol of wisdom and war, is notable for its decorative and symbolic richness. In reinterpreting this work, I emphasized simplification and abstraction, extracting and amplifying the spiritual and dynamic vitality of femininity. As German artist Caspar David Friedrich once remarked, “Close your physical eyes so that you may first see your painting with your spiritual eyes.” By simplifying forms and reducing details, I employed flat, geometric compositions to convey a robust and independent feminine spirit, prioritizing the depiction of vitality and spiritual energy over external appearances.

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The background of Klimt’s Athena is rich in decorative motifs but subdued through his treatment, leaving intricate details obscured. In my reinterpretation, I undertook a subjective deconstruction and reconstruction of the background, emphasizing the details through woodcut carving. By abstracting and flattening the decorative patterns into geometric forms, I reimagined the motifs with a contemporary visual sensibility. Leveraging printmaking techniques such as overlapping layers and bold color blocks, I aimed to engage with modernist ideas about the disconnect between painted and physical space.

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During the experimental phase, I tested the compatibility of acrylic paint, oil pigments, and printmaking inks on various types of canvas and textures. To retain the unique textures introduced by the unevenness of the wooden surface, I opted for rougher wood panels, which produced a mottled visual effect that disrupted traditional expectations of uniformity in printmaking. Additionally, based on my prior painting experience, I selected fine linen canvases to ensure that the printmaking ink penetrated smoothly, enabling the subtle rendering of intricate details.

 

 

The creation of Armor combined deliberate planning with spontaneous execution. I began by using digital drawing software to layer and segment the composition, identifying areas for woodcut impressions. After transferring the design onto wooden panels, I carved the blocks and layered the prints sequentially to achieve compositional depth. To distinguish the background from the main subject, I employed lower-intensity hues for the background, allowing the focal point to stand out more clearly.

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This synthesis of printmaking and painting struck a balance between order and improvisation. The procedural structure of printmaking brought a sense of control and clarity, while the fluidity of painting imbued the work with dynamic energy. This dual approach not only transcended traditional media boundaries but also added a layer of experimental vitality to my practice.

 

 

 

 

The integration of woodcut printmaking and oil painting has prompted me to reconsider the significance and boundaries of artistic media, allowing me to challenge traditional paradigms and expand my creative vocabulary. This method is not merely a technical innovation but a profound investigation into the potential of visual language. Moving forward, I aim to deepen this interdisciplinary approach, fostering stronger connections between traditional techniques and contemporary concepts. Through ongoing experimentation and critical reflection, I aspire to create works that not only resonate with contemporary audiences but also challenge conventional narratives, enriching the discourse of modern artistic practice.