Printmaking






The Moment Fades. 2010.
Monoprint. 30 1/8" x 11 1/4".

This was a time-consuming but enjoyable print that I made in April, 2010. I used eleven stencils, numerous plates, and a couple of different printing techniques. This was a key part of a series I did leading up to my largest print, "Perseverance." Although this print is also aesthetically pleasing to me turned 90ยบ counterclockwise, I prefer showing it this way. This print is in the private collection of Jack and Judy Sandeen.








A Glimpse Inside. 2010.
Monoprint. 9 1/8" x 25 1/2".

I created this print in April, 2010, using seven different plates and four stencils. It was an early creation in an important series for me as I immersed myself in the collagraph printing process. I made it and another print of the same size and similar design one after the other. This print (and its sibling) is in the private collection of Antje Anderson and Mark Bauer.







Landscape of Imagination. 2010.
Monoprint. 11" x 15".

I made this print in April, 2010, using this plate for the first time. I experimented with the initial inking of the plate as well as with the composition of the print as a whole. As I worked on these monoprints in 2010, I was faced with numerous decisions. I especially needed to decide what to do for the next step, or whether to do nothing. In this case, I was tempted to add more to this print but decided that I liked the image after the first run through the press. I worked quite a bit with negative space, with leaving voids on the paper. The white "void" taking up the bottom half of the print allows for multiple interpretations of the piece. The void gave me the impression of a hill, perhaps (but not necessarily) snow-covered. I see many things in this image, and I leave you to see what you will. Allow your experiences and imagination to do their thing. This print is in the private collection of Jack and Judy Sandeen.








Multiple Perspectives. 2010.
Monoprint. 20" x 22".

I created this monoprint in April, 2010, using two stencils and several plates. I played around with the gear shape, an element that appeared in many of my prints in 2010, this time seeing the gear shape as a window. You might feel like your looking forward or downward (if you see it the way I do). I also wanted to play around with the negative space in the middle and around the outside, allowing the plates and press to not only transfer ink to the paper but to emboss the paper (like a copperplate would do). The more I worked with the materials, the more I saw countless possibilities to create different imagery. I felt this piece especially emphasized the variety of perspectives viewers could take as they look at and think about the work. This piece was displayed in a show at the Rotunda Gallery on the University of Nebraska-Lincoln's city campus in November, 2010.







Reorientation. 2010.
Monoprint. 15" x 22".

I created this monoprint in April, 2010, using several plates and stencils. Like several of the prints that I made in 2010, this print became part of my gear series. And like several of the prints that I made in 2010, I created this one with multiple techniques while giving attention to the negative space along with the positive space. In the case of this print, I had the idea of giving the viewers the impression that they could be looking forward or downward, and that the image could be twisting and turning as the gear shapes would move.









Change of Course. 2010.
Monoprint. 10 1/4" x 14 3/4".

Similar to the print above, I created this monoprint in April, 2010, using several plates and four stencils, as well as some techniques I developed as I experimented with the materials I was using. The final image reminded me of both a navigational instrument and a ship's steering wheel, hence the title.









Perseverance. 2010.
Monoprint. 22" x 59".

This is currently the largest print I've ever made. I created it towards the end of April, 2010. I used several different plates and stencils in a variety of ways, implementing many of the different techniques I had been developing over the previous weeks. I enjoyed the challenge of working on such a large scale, printing on two large pieces of paper on a large printing press. I used a double-sided adhesive tape to connect the two 22 x 30" sheets of Rives BFK. This piece was displayed in a show at the Rotunda Gallery on the University of Nebraska-Lincoln's city campus in November, 2010. It is now in the private collection of Patricia Oman and Eric Tucker.









The Tipping Point. 2010.
Monoprint. 8" x 22 1/8".

I made this print at the beginning of May, 2010. I came up with the idea for this print as I was finishing a couple of others using these plates. I looked at this piece of paper, which I had already torn to this size, and I decided I wanted to create a composition that played around with the ideas of gravity and movement. I used two plates to give the impression of movement from right to left; the empty space on the left side is intended to convey the feeling of future potential movement in that direction. I decided, however, to place the gear-shaped plate in such a place where you might think it's actually rolling into the circular depression on the right. I love playing with potential and with multiple possibilities, and this turned out to be one of my favorite prints. This print is now in the private collection of Karrie Danielson and Steve Lincoln.




© Christopher P. Goedert