Category Archives: mono-type printmaking

LAPS Wild Life exhibit at Eagle Rock LA

Last of the Dryads, Kathleen Thoma, monotype

Last of the Dryads, Kathleen Thoma, monotype, linocut, 16×12 in

LAPS invites you to explore our virtual Wild Life exhibition, now showing at the Center of the Arts Eagle Rock, April 1st-May 20

The topic of the “Wild Life” exhibit, featuring the fine art printmaking of the Los Angeles Printmaking Society; is our destruction of  wild life on Earth. In honor of Earth Day, April 22, 23 in partnership with CLAW Los Angeles, the show seeks to promote awareness and action on behalf of our planet’s health in the future. The link is below to see all the exhibition/gallery at Eagle Rock.

https://www.laprintmakingsociety.org/wild-life-3d-gallery/

Los Angeles, a place more associated with freeways and traffic, is one of only two cities nationwide that is also home to big cats within city limits. Yet, we are also living in the time of the Anthropocene, the sixth mass extermination of life on earth. What can be done to protect what remains of our wild places and the wildlife the lives there? 

In recognition of Earth Day 2022, our artists are looking at a range of issues facing native wild life. The event on Earth Day is a Saturday, April 23rd, 2-5PM at the Center for the Arts Eagle Rock, 2225 Colorado Blvd. LA, CA 90041 

I include my contribution to the show above, “The Last of the Dryads”. If you learned any Greek mythology in school, you may remember learning about dryads. They were thought to be the spirits which lived within the trees, and kept them alive. My image above shows them not feeling so well these days, with the fires and destruction of our forests. Much of my recent work involves mythic, symbolic images that explore our changing climate as it affects our lives, and collective unconscious.

What is an Exquisite Corpse?

A tradition from the Surrealists continues in a recent exhibition with the Los Angeles Printmaking Society

The Surrealists adapted a parlor game into a poetic way to create relationships using either images or texts, that might reveal the metaphysical and upend the rational. Key to the game was using creativity and chance to create something collaboratively and something new! 

Known as “Exquisite Corpse” since the 1920’s, when passing a folded piece of paper created the sentence; “the exquisite corpse drinks the new wine”. Exquisite Corpse is now a regular practice of visual artists to work together creatively.  There are many examples online. Each artist creates a body in three parts, then they are mixed up with the sections made by other artists. No one knows how the sections will be mixed together until the end. 

Certainly artists are happy to be able work together and to have in-person events once again. Since 2020 was surely a cursed year for most of the planet, we are very happy that things are somewhat better in 2021.

Without going into all the issues in the world, I am sharing some photos of a recent exhibit from a group collaboration with the Los Angeles Printmaking Society which took place at the International Printmaking Museum in Carson, CA. 

Image of section of an Exquisite Corpse, "Why is she holding a fish?" Kathleen Thoma

Head section of “Why is she holding a fish?”, Kathleen Thoma, monotype

I am also showing my own process in creating my own contribution to this show. I start with showing my drawing in pencil. Then my drawing on a plate using Caran D’Ache neocolor wax crayons for the press.

Image of process in creating my part of an Exquisite Corpse, with the Los Angeles Printmaking Society

Image of process in creating “Why is she holding a fish?”, Exquisite Corpse with Los Angeles Printmaking Society

I created three monotypes for the color base image. Then the plate with the crayon image was placed on top of the monotypes, and run though the press using slighly damp paper. This step is a bit tricky, because if the paper is too damp, then the paper can tear under the pressure of the press. I’ve done this technique before, and I believe that it works better in a more humid climate (such as in New England) than in a near dessert climate where I now live, in here in Southern California. But I did manage to make it work.  

Why is she holding a fish?, Kathleen Thoma Art, monotype, 45x15 in

Why is she holding a fish?, Kathleen Thoma, monotype, 45×15 in, Exquisite Corpse collaborative

Our collaborative Exquisite Corpse was shown in two parts this summer and fall, There were two installments of this exhibition from LA Printmaking artist members:

View of Exquisite Corpse Collaborative Exhibit at International Printing Museum

View of Exquisite Corpse collaborative exhibition at International Printing Museum in Carson, CA

First installation: August 5th to September 1st.
Second Installation: September 3rd to September 30th. 

Artists in the first installation (August 5th to September 30th):
Mary Sherwood Brock, John Edwards, Christina Yasmin Fesmire, Karen Fiorito, Jani Hoberg, Poli Marichal, Gail D Panske, Marianne Sadowski, Katherine Sheehan, Barbara Belle Sloan, Annie Silverman, Kathleen Thoma, Cathy Weiss.
With special guests from the Lynck Collective;
Christina Yasmin Fesmire, Bill Jaros and Nguyen Ly.
Artists in the Second Installation (Sept 3rd to 30th):
Mary Sherwood Brock, Marianne Sadowski, Katherine Sheehan, Amaryllis Siniossoglou and Silvia Simmons. 

Printmaking and the Imaginal Realm

In this post I am sharing recent printmaking work inspired by personal explorations into what Carl Jung called the “imaginal realm”. 

A very short story

In 2009, before I moved away from the east coast, I viewed a show at the Rubin Museum of Art in New York City. The show featured “The Red Book” by Carl Jung, which had never been available for exhibition before. I had read much of Jung’s work over the years and jumped on the train for a chance to see it. https://en.wikipedia.org/wiki/The_Red_Book_(Jung)

I spent all the time that I could to study the pages of art which Jung had created from his own explorations of his personal imaginal realm. Without going into this topic too much, it is a way of restraining the conscious mind so that images from the “collective unconscious” may by explored.

The Treasure

For an artist, this imaginal realm is a treasure of endless images to work with! Many techniques can be used to make this exploration; among them are forms of meditation, shamanism and dream work. An abundance of information on this topic is online already, so no need to elaborate on that.  

I am sharing a recent work from my personal explorations into this realm, the most recent one shown here is called “The Queen of the Nagas”. This archetype appears on and off in my dream world. And I felt the need to give her image a boost into this ordinary world by means of a technique called a “collagraph”. This is a way of creating textured images and, by using inks of various viscosity, it is possible to build-up multiple colors onto one plate.

Queen of the Nagas, Kathleen Thoma, collagraph, linocut, chine College 14.75x11 in

Queen of the Nagas, Kathleen Thoma, collagraph, linocut, chine colle, 14.75×11 in

What is a Naga?

They are mythic Buddhist serpent people who have great powers, guard inner treasures, and you definitely want to stay on their good side according to the myths. As protecting nature spirits, they don’t like people polluting their rivers, streams or oceans. They bring rain, wealth, and fertility when honored. I imagine they are not very happy with humans these days. The link shows more information about Nagas and their myths world wide. https://www.newworldencyclopedia.org/entry/naga

In terms of artistic explorations with printmaking this image took me some time to work out. But I enjoyed it very much. I have been creating a number of images symbolically related to climate change recently, so this is one more. I used several printmaking techniques, as indicated in the caption. 

Photos from “ImMigration Project”

Photos from “ImMigration project 3” a collaborative traveling group exhibition showing at Self-Help Graphics and Art. 

ImMigration Project photos

ImMigration Project at Self Help Graphics and Art. Many artists are shown on the wall that I am next to.

 Showing : Saturday, January 11th to February 22nd, 2020

 Opening Reception, January 11th, 7PM – 9PM

Photos from ImMigration Project

Each printmaker has contributed a triangle shaped image to this wall display. There are many displays in the show.

I am showing a few shots from the opening night of “ImMigration Project” just to give some idea of how the show looks, which is pretty great. I am one of a great many printmakers from all over the place who have sent in their many interpretations and various techniques of the theme of immigration, but also of migration in general, of any sort. To live on our planet is to move with life and it’s demands upon us. Some of us move often, some very far or not so far. The idea of borders is a purely human construction of the mind, with many sad events as a result. 

Photos from ImMigration Project

Here is another group of contributions from Printmakers from all over on the topic.

Some of the printmakers focus on the human tragedies and death camps. Some focus instead on seasonal animal migrations that are now also about climate change. All the images share ideas about the purpose of migration and immigration; for a better life, or for food, or to escape horror and war.

Photos from ImMigration Project

Our curator, Mary Sherwood, who came up with this wonderful show for us all, and myself.

ImMigration has previously shown in Denton, Texas, Venice, Italy and now here in Los Angeles, CA at Self Help Graphics and Art. More locations for this traveling show will be announced later.

More info: LAPrintmaking.com or on Instagram for more and better photos than here. Also on Facebook on the LAPS page

selfhelpgraphics.com/exhibitions

Kali as a symbol of Climate Change

The Age of Kali, Kathleen Thoma, monotype, 14.5X17.5 in

The Age of Kali, Kathleen Thoma, monotype & chine colle, 14.5x 17.5 in

Art, Earth Day & Climate Change

While creating an entry for the upcoming show; Sweet Earth/Bitter Earth at the Center for the Arts, Eagle Rock, CA; the myth and stories of the Hindu Goddess Kali, jumped into my mind. 

The theme this year is our relationship to the environment. And for me, that is the heartbreaking news of climate change which is everywhere around us and has been ongoing for a long while. According to recent UN reports, we are nearly out of time. We have about twelve years perhaps.

I have always seen climate change in symbolic forms as if it were happening through a series of images from a dream. This dream which is shared by all of the life on our planet; is either going to be changed by all of us working together or it will continue growing into a nightmare. 

My image shows the “ruins” of our lives and civilizations in the upper left, while also showing the “forest of life” to the right. So the image can be read in either direction. The question becomes: Are we going to towards the ruins of our planet’s ecosystem? Or are we going to rebirth our planet?  And while Kali dances between the two possible futures; at her feet, we see the poisons that we have already left behind on earth, the plastic, the death, the radiation. 

The Hindu Goddess Kali is a complex, ancient symbol of change, death and rebirth, healing, cycles of time, and opportunity. Although most traditional images show her only in her terrible death aspect, she is also seen as the mother, who gives us the courage to hope while she helps cut away ignorance with her wicked sword. 

The Los Angeles Printmaking Society is a national non-profit artist-run organization. The juror, Marion Estes has selected many wonderful hand-pulled prints for this exhibition.  I hope you will see our LA Printmaking Spring Show at Eagle Rock from April 5-April 30, which in conjunction with many other Earth Day-related activities. 

Update: 

 I have a few photos to share from the opening.

Exhibition Signage

2019-Sweet Earth-Bitter Earth exhibition signage

The Age of Kali, Kathleen Thoma

The Age of Kali, Kathleen Thoma

gallery view of Sweet Earth/Bitter Earth, Center for the Arts at Eagle Rock, LA

Gallery view of Sweet Earth/Bitter Earth, Center for the Arts at Eagle Rock, LA

link to info on exhibition

 

Dreaming, Spirit and the Creative Impulse

I thought that I would post some of my recent images, which continue my explorations into the intersection between dreaming, spirit and the creative impulse.

Evocation of Spring, Kathleen Thoma, monotype, relief, chine colle, 14x11

Evocation of Spring, Kathleen Thoma, monotype, relief, chine colle, 14x11in,

“Evocation of Spring” begins with a memory and a dream. The dream involves the image of huge open book, which has forms within it that I am still learning how to read. The memory is from childhood, of the delicate colors of spring flowers and the sound of rain falling into a pond. Using abstract symbols to express sound was a fun challenge, which I have played with in the past. Many of my previous works were created by remembering the sound of drums, or by listening to drums as I work.

Perennial Mosaic, Kathleen Thoma, monotype, relief, chine colle, 14x11 in

Perennial Mosaic, Kathleen Thoma, monotype, relief, chine colle, 14x11in

“Perennial Mosaic” is another dream-like image, a collection of impressions from plants, sound patterns, and the colors of summer. These appeared to me as a mosaic of shapes, so I allowed them to grow together.

A Woman's Psyche, Kathleen Thoma, monotype, relief, collage, chine colle, 11x14 in

A Woman’s Psyche, Kathleen Thoma, monotype, relief, collage, chine colle, 11x14in

“The Psyche of Woman” shows the symbiotic relationship between human and nature as it should be, when humans are working to support our world instead of working against it. The woman is in her separate space, yet she is dependent upon her surroundings, whether or not she is aware of it.

These monotypes will be in my portfolio gallery very soon.

I am very happy that I was accepted into the Los Angeles Printmaking Society! I loved their recent show “Air, Water and Earth” at the Muckenthaler Cultural Center in Fullerton, CA. I spent a great deal of time at the show, just taking it all in. I look forward to showing my work with them when the time is right.

New series of Monotypes

 

Contemplations on Samsara-1, Kathleen Thoma, monotype, 11x14 in

Contemplations on Samsara-1, Kathleen Thoma, monotype, 11×14 in

Meditations on Samsara is a series of monotypes based upon my practice of focus on one symbol in order to quiet the mind. This practice is the basis for this new series of works showing the slowly developing changes in the object of focus. This series of monotypes documents the many other images, which came into my mind during the practice. These other surrounding images are the inspiration for my artwork. Dream Yoga info  The complete description and images from this series is within the portfolio. Meditations on Samsara

Contemplations on Samsara, in process, Kathleen Thoma, monotype, 11x14 in

Contemplations on Samsara, work in process, Kathleen Thoma, monoype, 11×14 in

 

Meditations on Samsara-7, Kathleen Thoma, monotype & paint, 11x14 in

Meditations on Samsara-7, Kathleen Thoma, monotype & paint, 11×14 in

Some changes on my web site as well, it has a new store format, within each of the galleries, after clicking upon an image; you can access the shopping cart.

What have I been up to? Preparing for fall events…

The past few months I have been very busy working on new relief prints for some fall events.

Matrix, Kathleen Thoma, relief, 4x6 in

Matrix, Kathleen Thoma, relief, 4×6 in

I will participate in the annual The Los Angeles Printmaking Society’s show “Give and Take”, which opens November 9, 2017 at the Angel City Brewery. This is part of an effort to raise funds for student scholarships and printmaking outreach. Information about this show is at www.laprintmakers.com/site/node917

I will also have a table at the 9th Annual Los Angeles Printers Fair in Carson, CA, which takes place on Saturday Oct. 14, from 10 am to 5pm. I will be showing at table A2, inside the museum. My relief prints and postcards will be for sale there; while I enjoy meeting new people and talking to everyone. Each year I enjoy seeing what everyone has been creating during the year, and looking at all the beautiful papers that the paper vendors are selling.

Divergence of Woman, Kathleen Thoma, relief, 4x6 in

Divergence of Woman, Kathleen Thoma, relief, 4×6 in

This is a fun event for all ages, and a chance to try your hand at printmaking if you have never done so, print your own t-shirt, and watch the demonstrations of old printing presses in the museum. Vendors sell hand-pulled cards, handmade books, posters, invitations, journals, fine art papers, and there is a letterpress swap meet and more. Information at www.printmuseum.org/printersfair/general-information/

My prints will also be for sale on my site by then as well. So if you can’t come to the shows, take a look and see later on.

Studio News-new work-LA Printers Fair

Paper Dawn, Kathleen Thoma, monotype-painting on paper 11x14 in

©2016 all rights reserved, Paper Spring, Kathleen Thoma, Monotype & chine colle, 11×14

I’ve been very busy in my studio these past months, creating a series of new works for my portfolio-nature on my website. I have also been busy exhibiting in a few shows, and preparing for the 2016 LA Printers Fair, which is a blast. Last year I had so much fun seeing everyone else’s work that I almost forgot my own table. This year I will be at table A-2, which is inside the building, out of the sun.

The LA Printers Fair is a wonderful. This year it is on Oct. 1, 2016 from 10am to 5pm in Carson, CA. Whether you are any kind of creative person or someone who is simply interested in any of the following: old mechanical printing presses, book arts, history, Letterpress, printmaking papers, cards of all kinds, posters, demonstrations, stuff to keep your kids amused, graphic design, artist prints, screen printed shirts, papermaking. (I have the link at the end of the page. They have a video of the past Fair so you can see how it is.)

Lavish Flora, Kathleen Thoma, monotype, 11x14

©2016 all rights reserved, Lavish Flora, Kathleen Thoma, monotype & chine colle, 11x 14 in

My new works, inspired by nature will be featured in postcard images, which will be offered in packages. My printmaking methods of monotype, meaning “one print” are priced too high for an event such as this, so once a year I come here, have fun and share my artwork in a different format.

See you at the Fair perhaps, and take a look at the links if you like. See a video of last years Fair at www.printmuseum.org/fair.

The Many Levels of Creative Exploration & Expressive Arts

If anyone had asked me back in art school if creating art was a healing thing to do, I would have said “well, yeah, duh”, because making art was only thing keeping me sane for most of my life. Since childhood, art was my escape from family issues, and since I hated school, it was the only reason I ever finished high school at all. I would have missed the art room too much if I’d quit; the art studio was the only place I found myself feeling happy. But I had more to learn about it.

Kathleen Thoma, The Wanderer, monotype and drawing, 11x14 inches

The Wanderer
Kathleen Thoma
monotype and drawing
11×14 inches

My journey into a more conscious creative relationship with my personal image-making muse began many years ago back in Paris, in 1989, where I first found Cyntha Gonzalez. Her “ Spontaneous Painting” workshops were offered at a friend’s house. Cyntha was using a combination of methods in order to get us all into a flow of discovery and loosing our fear of losing control over our arms, hands and artistic skill. In one weekend, we used simple psychological/spiritual rituals, our non-dominate hands, music, dance, and the shamanic journey, in order to learn how to explode into a spell of creative madness, which produced a great flowering of joyful, wonderful artworks. We were all flabbergasted with ourselves, and each other. I felt we had found a doorway into the entire universe, although I’m not sure that the others did. I do know that nobody wanted to stop the process.

Isn’t all art expressive art?

This was my introduction into the “expressive arts”, even though no one called it that at the time. You might ask, “Isn’t all art expressive art?” I know that to me there was no difference, even though educators and therapists seem to have claimed the term for their own uses. I always thought, and still do, that all creative art heals the artist; How ever, I’m not so certain that I am always healed by looking at art made by others, if it makes me feel revolted or bored. To me, not all art is healing, although it may still be art. That is merely my own opinion, however art students and historians may argue its affect on larger society for eternity.

Bird Woman, Kathleen Thoma, monotype and drawing, 11x14 inches

Bird Woman,
Kathleen Thoma
Monotype and drawing
11×14 inches

”Wikipedia defines the difference this way, “Unlike traditional art expression, the process of creation is emphasized rather than the final product. Expressive therapy is predicated on the assumption that people can heal through use of imagination and the various forms of creative expression.”

It’s about the experience, not the end result

Whatever this creative experience/process is called, I know what it did for me. Cyntha’s workshop had a very strong effect on my “regular” life. It led me into a life-long study of shamanism, which in turn affected my artwork over time. I was introduced to an exploration of consciousness that my traditional art teachers would never come near to teaching us even if they had known how to do it. It was so much better than anything I had ever felt in art school. But then again, it was a different sort of teaching altogether; this was using our unconscious mind, heart, spirit and emotions, instead of only using our intellect and disciplined exercises.

The Wanderer, Kathleen Thoma, monotype and drawing, 11x14

Psychedelic Dream, Kathleen Thoma, 11×14 inches, Monotype and drawing

The effect of the expressive arts on my personal more “professional” artwork, is not a clear set of “boxes” in which the two remain separate. The freedom from the expressive arts often invades my “regular” work. Sometimes they are the same work. I feel it has enriched my whole life and certainly the practice of my shamanic work continues to influence me on many levels, and has led me to a universe of archetypal images, and abstract shapes.

I feel that the “expressive art” exercises and practices assist professional artists to free up and let go of all the rules that sometimes keep us blocked from our own creative flow of energy. And for everyone else who comes to the expressive arts from other professions; it is a great discovery of joy and ability. The point of the expressive arts is not only to “make art”; it is to express more of our whole being through the creative process of art. The techniques used to do this are numerous, but the goal is a union within our own hearts and traveling though our personal creative journey, no matter how we make our living.

The program at Salve Regina Universtiy

In 1998, while living in Rhode Island, I found a notice about a program at Salve Regina University, which offered a weeklong training in the Expressive Arts. I signed up and took the program, (the first they offered), and it continued to have an underlying influence on my own work and teaching for many years.

 

It was here that I met Susan Fox, one of the instructors there who later became a good friend and co-worker on other levels of creative exploration. Susan Fox is an author, artist and core member of the facility in the Expressive and Creative Arts Program at Salve Regina University, Newport RI.  She uses unique art-making processes, imagery, nature-based experiences and private coaching to support life goals, special projects and personal transformation. Her own web site below has all the details of how she offers her private coaching based on her twenty years at SRU. I talked to her recently and asked her a few questions about her work.

1) How has the Expressive Arts program at SRU grown and changed through time?

The Expressive and Creative Arts has grown into a broad-based program where we share the principles used in the creative process with a more diverse group of students – educators, counselors, artists of all kinds, and those in pursuit of holistic disciplines. We now offer many more classes incorporating more sound, story, movement and theater arts.

2) What is your favorite part of teaching Expressive Arts at SRU?

I enjoy the whole brain learning experience when students begin to trust their inner guidance and find ways to give voice to what has importance in their lives.

3) How has your own artwork been affected by your teaching?

My work is more explorative with a focus on embodied processes, less in the fine art and more in playful (more for my self) work that I enjoy as a place of peacefulness mostly for myself.

4) How has your private teaching changed from teaching Expressive Arts at Salve?

My private teaching is about transformational and creative practice and focuses on how we shift internally (how the creativity factor in all of us is waiting at the open doorway) just from the act of painting. I find I am less serious, intrinsically wilder! After 20 years with the program, the material in my ongoing private classes differs primarily with regard to the depth I can offer in a shorter time span.

This Spring I will be offering a hybrid class for advanced personal students who are open to creating fine art, along with expressive work, and want to pursue more theme- based concepts.

Susan Fox’s web site is www.creativefactorinyou.com

 All of the upcoming programs at Salve can be seen at http://ecarts.salvereginablogs.com/photos-video

Cyntha Gonzalez has offered her workshops all over the world, but for now mostly in Bahrain, Dubai, India, and the UAE.  She speaks many languages and has lived nearly all over the globe, the USA, France, Mexico, Peru, Morocco, and England. Her workshops are amazing and if you are lucky you may get into one.

Don’t just read about it; try it

I feel artist’s can open up their inner channels and access more easily their unconscious connection to the universe of images available to all of us through using what therapists call “expressive art’. I still find the term to be somewhat annoying, but not the concepts or use. Accessing images that are available to us through the many states of altered consciousness allows us to dip into the unending pool the “collective unconscious” as Carl Jung so wonderfully explored and wrote about. If you don’t know about him, you can certainly learn more on the web.

Taking a class is the best way, but here are some of the many books on Expressive Art (but doing it, not talking about it is what works) Here are some that I like, but there are many ways to do this. Some people like step-by step exercises, I happen to hate that approach, but tolerate it in a class. We are all different. I prefer to jump in and just do it.

Books

Visual Journaling: Barbara Ganim and Susan Fox

Art and Healing: Using Expressive Arts to heal your body, mind and spirit, Barbara Ganim

Trust the Process: an artist guide to letting go

Art Heals: How creativity cures the soul

Imagination in Action, all by Shaun Mc Niff