Art-making Studio
Art-making Studio
Intention
Started out as a workspace during my job redesign to focus on art facilitation, a space located in a Chinatown neighbourhood grew into a place of personal creative exploration and occasional private art studio where participants try on the medium of linocut and are invited to discover their own artistic preferences.
Started out as a workspace during my job redesign to focus on art facilitation, a space located in a Chinatown neighbourhood grew into a place of personal creative exploration and occasional private art studio where participants try on the medium of linocut and are invited to discover their own artistic preferences.
Started out as a workspace during my job redesign to focus on art facilitation, a space located in a Chinatown neighbourhood grew into a place of personal creative exploration and occasional private art studio where participants try on the medium of linocut and are invited to discover their own artistic preferences.
Case Study
As a practicing artist, I am always thinking about creative ideas and visual styles to illustrate based on subject matters that I am concerned about. Eventually realizing that I gravitate towards the aesthetics of print, I developed an interest in printed matter and the methods that produce such works.
The art studio provided me an opportunity to develop that interest and further expanded my practice both as an artist and an art facilitator.
As a practicing artist, I am always thinking about creative ideas and visual styles to illustrate based on subject matters that I am concerned about. Eventually realizing that I gravitate towards the aesthetics of print, I developed an interest in printed matter and the methods that produce such works.
The art studio provided me an opportunity to develop that interest and further expanded my practice both as an artist and an art facilitator.
As a practicing artist, I am always thinking about creative ideas and visual styles to illustrate based on subject matters that I am concerned about. Eventually realizing that I gravitate towards the aesthetics of print, I developed an interest in printed matter and the methods that produce such works.
The art studio provided me an opportunity to develop that interest and further expanded my practice both as an artist and an art facilitator.
Process
Linocut became my favourite medium because I admire the democratic nature of the technique both from an artistic and literary perspective. Learning from the history of print, specifically the tools, materials (i.e. paper, movable type) and the precursors of the printing technique (woodcut, textile block-printing) helped maintain my interest in the practice.
The relief printmaking technique requires a few main stages namely composing/drawing, carving (on linoleum, rubber materials) and printing—all hands-on approaches that allow the art-maker to be introspective and intentional on every stages of the process.
Linocut became my favourite medium because I admire the democratic nature of the technique both from an artistic and literary perspective. Learning from the history of print, specifically the tools, materials (i.e. paper, movable type) and the precursors of the printing technique (woodcut, textile block-printing) helped maintain my interest in the practice.
The relief printmaking technique requires a few main stages namely composing/drawing, carving (on linoleum, rubber materials) and printing—all hands-on approaches that allow the art-maker to be introspective and intentional on every stages of the process.
Linocut became my favourite medium because I admire the democratic nature of the technique both from an artistic and literary perspective. Learning from the history of print, specifically the tools, materials (i.e. paper, movable type) and the precursors of the printing technique (woodcut, textile block-printing) helped maintain my interest in the practice.
The relief printmaking technique requires a few main stages namely composing/drawing, carving (on linoleum, rubber materials) and printing—all hands-on approaches that allow the art-maker to be introspective and intentional on every stages of the process.
