15th lessedra world art print annual · with special thanks for the cooperation to: ... and many of...

15TH LESSEDRA WORLD ART PRINT ANNUAL

CONTEMPORARY ART PROJECTS2016

The exhibition is held

June 15 – October 23, 2016Lessedra Gallery25, Milin Kamak Street, Lozenetz1164 Sofia, Bulgaria

The project is presented on the webwww.lessedra.comlink Annual

310 Artists from 50 countries

The Catalogue presents

With Special Thanks for the cooperation to:

Japan Artists Association

Japan Hanga Forum & Japan Print SocietyMr. Tsutomu KONO

ARCHIVO GRAFICO, MexicoProf. Felipe Cortes Reyes

Book cover design: Atanas VassilevConcept for the book: Georgi Kolev and Christophor Krustev

Pre - press: Christophor Krustev©2016

Print: AsiPrint©2016

Publisher:LESSEDRA Gallery & Contemporary Art Projects25, Milin Kamak Street, Lozenetz1164 Sofia, BulgariaTel.: (++359 2) 865 04 28, (++359 2) 866 38 57e-mail: [email protected] [email protected]

© Lessedra

Argentina – 4 Australia – 2 Austria – 4 Belgium – 13Brazil – 1 Bulgaria – 17 Canada – 14 Chile – 7 China – 2Colombia – 1 Costa Rica – 1 Czech Republic – 1 Denmark – 4England – 11 Estonia – 3 Finland – 10 France – 13 Germany – 12Ghana – 1 Greece – 1 Hungary – 1 Ireland – 11 Israel – 7Italy – 4 Japan – 38 Korea – 1 Latvia – 1 Luxembourg – 1Malaysia – 1 Mexico – 5 The Netherlands – 7 New Zealand – 1Norway – 2 Peru – 1 Poland – 14 Portugal – 1 Puerto Rico – 1 Romania – 6 Serbia – 1 Slovakia – 1 Slovenia – 6Republic of South Africa – 1 Spain – 3 Sweden – 13 Switzerland – 11 Thailand – 2 Turkey – 5 Ukraine – 1 United Arab Emirates – 11 U. S. A. – 29

315th LESSEDRA WORLD ART PRINT ANNUAL – MINI PRINT

15TH ANNUAL INTERNATIONAL JURY

KALLI KALDEEstonia – First Prize Winner of the 14th Mini Print Annual 2015

ANITA KLEINEngland – Featured Artist

LUCEBelgium – Winner of the Second Prize of the 14th Mini Print Annual 2015

JAN WELLENSBelgium – Artist and long term friend of Lessedra

GRETHE HALDNorway – Artist and curator

SNEZHINA BISSEROVABulgaria – artist and Art Teacher School of Arts and Sofia University

2016PRIZE WINNERS

First Prize

CEZARY KLIMASZEWSKI, Poland

Second Prize

ALEXANDRU JAKABHAZI, Romania

Third Prize

PAMELA DE BRI, Ireland

Five Special Prizes

AKEMI OHIRA, U. S. A.

AKIRA SUZUKI, Japan

GILL SPEIRS, England

VERONICA ROJAS LEDERMANN, Chile

WU WENSHENG, China

4

2016DEDICATED TO BULGARIA AND TO LESSEDRA

BARRY COTTRELL, The Lion of Lessedra XV, 2016, Burin on Copper, 10x10 cm

JAKA BONCA, Slovenia,Upright Typesetting Lessedra 3, 2016, Digital Print, 29x23 cm

CECILE DREMIERE, France, Paris – Sofia, 2016, Serigraph, 22,5x28 cm


201615 YEARS OF PARTICIPATION

SUSAN LITSIOS, Switzerland

Vol, 2016, Etching, 5,5x3,8 cm Question, 2016, Etching, 6x8 cm

BRIAR CRAIG, Canada,DOBRE, 2016, Ultra Violet Screen Print, 17,5x25 cm

6

2016SPECIAL PRESENTATION

The Language of Friendship

Dutch and Bulgarian artists meet in Sofia

April 6th- April 26th 2016

The artists from The NetherlandsOriginator and curator of the Dutch presentation JOZINA MARINA VAN HEES

JAN KARREMANS, MARIA KAPTEIJNS, MONIQUE VAES, EDITH BONS, JACQUELIEN BEENEN, MARIJE KOS, KARLA VAN GELDROP, KARLA KASSENAAR, ELLEN GEERTS, LENNIE VAN ZWAM, VIETA BONS, NANTSJE VONK, AURA OP DEN CAMP, JAN KOK, HENK VAN ROOIJ, KITTY DOOMERNIK, EUGENIE DAMMER, JOZINA MARINA VAN HEES

The artists from Bulgaria

MICHAIL PETKOV, PETAR CHUKLEV, CHRISTO KARDJILOV, IVAN BACHVAROV, RALITSA NIKOLOVA, VLADIMIR CHUKICH, MILKO BOZHKOV, STOYAN TSANEV, MARIA

DUHTEVA, IVAN NINOV, EVGENYI PANTEV, IRMA VODEVA, VALENTIN LEKOV, ALEXANDRA DIMITROVAThat group of artists who could be seen in Gallery Lessedra from 6 to 26 April 2016 together with Bulgarian artists came from the Netherlands. Most of them are friends and know each other about 30 years. Others have met in Gallery Holtrop in Tilburg.In this gallery Jozina Marina van Hees was the art-director. Unfortunately the gallery has stopped due to circumstances.

Georgi had asked whether it would be possible to let Bulgarian artists exhibit in my gallery, and so the idea of an exchange exhibition emerged. Each year we had in our gallery a sale-exhibition of small works of art, called with a play of words ’Petty Art’. In November 2015 the Bulgarian artists participated in this exhibition with much success.

The works were of fine quality and were very interesting for the Dutch visitors, because we have a different approach of our work mostly. In The Netherlands artists generally work conceptual. We think of a concept and work towards that idea.The Bulgarian work was appreciated by the public, many people came to look at it and the news-media gave it some attention.Through this event we have built a nice friendship with Georgi, and many of us will keep in contact with Gallery Lessedra. Some participate already several years in the Mini Print Annual.

By Jozina Marina van Hees

JOZINA MARINA VAN HEES in front of Bulgarian works in the gallery November 2015


MONIQUE VAES, Love, Collage, 20,8x29,8

JAN KOK, Erbarme dich I, Photo, Solar Plate, Giclee, 12,8x19 cm VIETA BONS, Musician 2, Digital Print, 21x29,8 cm

KITTY DOOMERNIK, Homage to the lady masters, Digital Print, 21x29 cm

JOZINA MARINA VAN HEES, Dry Fish, Digital Print, 20x20 cm

KARLA VAN GELDROP, Werveling 1, Egg Tempera, 12x12 cm AURA OP DEN CAMP, Untitled I, Tojobo Print, 8,3x8,5 cm

HENK VAN ROOIJ, Rocky Mountains, Linocut, 18x24 cm

MARIJE KOS, The burden I, Digital Print on Archival acid free paper, 20x20 cm

ELLEN GEERTS, Summer flowers: Constance Spry, Ink on Handmade paper, 11x11 cm

8

EUGENIE DAMMER, Untitled I, Charcoal, 29,5x21 cm

LENNIE VAN ZWAM, Hunting, Linocut, 29,5x21 cm

MARIA KAPTEIJNS, Which determines how we act, Etching, 12,3x9 cm

NANTSJE VONK, Forget me not, Silkscreen, 22,7x20,7 cm

JACQUELIEN BEENEN, Hand on the Pack, Polymer Print, 12x12 cm

KARLA KASSENAAR, Untitled I, Mixed Media on Paper, 11,5x11,5 cm

JAN KARREMANS, Dolphin Girl 1, Pen Drawing, Monotype, 29,5x21 cm

EDITH BONS, Nenek (Grandmother) I, Photo, Acrylic, 29x19 cm


Country Representative - Chile

7 artists - creator and curator of the presentationVERONICA ROJAS LEDERMANN

Dear Georgi, I hereby expound you my interest to continue in the participation of Chile with Engraving in Lessedra .Bulgaria invites 15TH L E S S E D R A WORLD ART PRINT ANNUAL MINI PRINT 2016, seven visual artists from the Faculty of Arts of the University of Chile, have been selected, our participation and integration with a broad universe of artists in the world enriches the exhibition.Historically the incorporation of my work with the other Visual Artists and Students of my workshop has been my challenge. Participation in International Exhibitions and Virtual Gallery allows extension with the artist work ' physical - virtual ' further divulgation by the Internet.In my capacity as curator and manager of the Virtual Gallery of Students of the University of Chile, my active participation in the System Information Services and Libraries, SISIB since 1998 has allowed the incorporation of Graphic Art of highest level in a Virtual Gallery global , with high number of visits per hour.The disclosure that is made by Internet materializes in 1998 and access statistics inform more than 100,000 visits only on 2002.

Currently , and as I was told by Alejandro Morales Vargas , Head of Digital Media Management Library and Information Services ( SISIB ), University of Chile :- The exhibition „ Virtual Prints „ appears first in Google results between 532,000 websites.- The book „Notes on Techniques and Technology of the Engraving“ appears as No. 4 among 351,000 results under the search pattern ( etching techniques ) .http://www.uchile.cl/cultura/grabadosvirtuales/html

With best wishes for succes to 15TH L E S S E D R A WORLD ART PRINT ANNUAL MINI PRINT 2016.

Sincerely yours,Verónica Rojas Ledermann,Academic Facultad de Artes, Universidad de Chile

Santiago de Chile, Mayo 24 de 2016

2016COUNTRY OF REPRESENTATION – CHILE

VERONICA ROJAS LEDERMANN, Chile, Untitled I, 2015, Etching, 15,5x10 cm

Veronica is satisfied with the organization of the workshop

10

ALEJANDRA URDANGARIN, Chile, Birds, 2016, Etching, 20x10 cm

CAMILA ASENCIO, Chile, Three Ages of Jupiter I, Aquatint, 10,5x23 cm

Camila looking what is coming out of the press

Alejandra creating new work

HIROMI DELANO, Chile, Untitled II, 2016, Etching, Embossing, 10x10 cm

Hiromi is not sure about the result...


MARIA ELENA GOMEZ ESCOBAR, Chile, Luna, 2015, Etching, Engraving, 10x10 cm

Maria Elena Gomez looking at the works

MAURICIO CORTES, Chile, Caceria, 2016, Engraving, 14x11,5 cm

SOLEDAD BENAVIDES YATES, Chile, Untitled I, 2016, Etching, 15x12 cm

Mauricio working in the sudio

Soledad Yates is curious to see the new print

12

PRESENTATION AS A FIRST PRIZE WINNER OF THE 14TH MINI PRINT ANNUAL 2015Kalli Kalde, Estonia

2016PRIZE WINNERS 2015

Artist` s Statement

I am Estonian artist: graphic artist and painter, living on the countryside in an old farmhouse near a little lake in South-Es-tonia. I moved to countryside on romantic aspirations, as I val-ue beautiful scenery, nature and open space around myself. Country life with its serene and silent atmosphere is a perfect setting for creativity. I live in sparsely populated area, from the windows I can see a lake, a forest and numerous birds and animals. The lake is the first thing I see in the morning. Every day I enjoy water reflections from the window. In winter time, when nature is covered with snow I have more time for cre-ative work – for painting and drawing. The colder the weather outside the warmer and brighter the colours of my works be-come. Somewhere, there is always summer, hot and full of sunlight, even if it is cold and dark in Estonia and lakes are covered with thick ice. Paintings with tropically bright colours bring warmth to the heart and soul in northern frost. I paint what is close to heart. Artist should enjoy the process of cre-ation and the piece in progress should also touch the heart of its creator, by doing so, others will experience the result with greater emotion. Artist should strive for perfection, seek eter-nity. While creating art, one should not forget that life is more important than art and being a human is more important than being an artist.

Preparation for the flight, 2013, Intaglio, 15x19 cm Something around us I, 2014, Intaglio, 35x14 cm


Exhibitions

2016•Korterinäitus viib karlovlaste pere teise maailma •Kunstinäitus toob kodudesse külaliste hordid 2015•VII International Symposium of Litogra-phy, Tidaholm, 27-31 July 2015 •7:e internationella litografisymposiet i Tidaholm, Sweden •Graafik Kalli Kalde võitis Rootsis preemia •Kalli Kalde sai Lesserdast peapreemia •Okanagan Print Triennial 2015 cata-logue, Canada 2014•An interview with Kalli Kalde in Periph-eral ARTeries •Tampere Maja graafikanäitus “Kos-milised labürindid” •Nedslag i den europeiska grafiken – ENDEGRA in Skövde, Sweden •Hyvinkää Art Museum MINIPRINT FIN-LAND 2014 •E-Kunstisalong 17. sünnipäeva näitus 2013•Das Baltikum-Blatt – Estnische Kunst wieder zu Gast in Salzburg •Eesti Suursaatkond Viinis – Eesti kun-stnike näitus Salzburgis•Tartu Kunstimaja – Tartu kunstnike aas-talõpunäitus 2011•Eesti Maaülikooli Raamatukogu – Kalli Kalde näitus “Suveetüüd” 2010•Tartu Postimees – Näituse eelnes raa-mat – Kalli Kalde akvarellinäitus “Igat-suste soe mets” •Eesti Rahvusraamatukogu – Kalli Kalde maalinäitus “Linnukuu” •Tartu Loomemajanduskeskuses näeb Kalli Kalde graafikat 2009•Virumaa Teataja – Soe maaliline värvi-iil laste ja lindudega, näitus Rakvere Galeriis 2008•Sven Vabar – Kalli Kalde “Suvesinine” Tartu Ülikooli Raamatukogus 2007•Tartu Lastekunstikooli Jakobi Galerii – Tartu Lastekunstikool 50: vilistlaste näitus 2006Tartu Ülikooli Raamatukogu – Kalli Kal-de maalinäitus “Hetke Värv”

Digital contacts, 2012, Algraphy, 16,5x24,5 cm

Ice, 2011, Intaglio, 16x21 cm

Mysterious suitcase, 2012, Algraphy, 17x24,5 cm

14

2016Featured Artist ANITA KLEIN, England

Anita Klein: ‘I’m celebrating my precious little family unit’

For 30 years the work of artist Anita Klein has been inspired by the people closest to her

No British artist has more thoroughly explored the fe-male experience of family in the past 30 years than Anita Klein. A penniless London art student in the 1970s, she found she was pregnant the day she was offered a lucrative job with Good Housekeeping maga-zine. Klein turned down the offer even though she and her husband, Nigel, had no work and ever since that day family has been the subject of her art.

Two daughters and a grandchild later she sees her life as having come full circle (the title of her new exhibition in London). Klein’s first prints and drawings were of herself and her daughter, Maia, as mother

and baby. Now, 1,500 prints and many paintings later, she is for the first time portraying Maia and her daugh-ter as mother and baby.

At first Klein’s work was deeply unfashionable. Small moments like bath-time with two splashing children and a glass of wine waiting, or ironing with the tel-evision on in the background were not what art, let

Anita with husband Nigel in front of her special presentation


alone “women’s art”, were supposed to be about in the 1980s. Klein was aware of this and yet, to her sur-prise, she soon found she could earn more from print-making than teaching or any other career that would have required taking on childcare.

By sticking to the subject of motherhood and domes-ticity, and to her small cast of family characters – daughters Maia and Leila, a few girlfriends and her husband Nigel – she has created a following. “I seem to have tapped into the zeitgeist,” she says in her Ber-mondsey studio. “Especially for young working women at the moment, who all suddenly seem inspired by my stubborn pig-headed determination to stay at home with my babies and turn it into a career!”

Now 55, Klein is a small, energetic woman who is clearly driven. Her own persona in the pictures is be-nign and serene, the thoughtful mother of daughters and the indulgent lover of “Nige”. But that woman is too dreamy to produce 25 original prints and 30 origi-nal oil paintings every year. While her own family life does seem as happy as the pictures suggest, Klein’s journey has been long and difficult.

At the age of 11, Klein, freshly arrived in London from Australia, was making pavement art outside Hamp-stead tube station to raise money to support her

younger sister. Or that was how she saw it.

“When I was 11, my parents divorced – rather sud-denly in my eyes – and my mother left Australia and took me and my sister to London. It was a sudden break from my father, extended family and friends. I did feel quite fragile and disorientated, especially as

we had no network of family and friends here, and a divorced mother in the early 1970s did not fit easily into social circles. “So we were quite isolated as well as financially insecure. My mother was very young at

the time and as the eldest child I felt keenly aware,

16

maybe unrealistically, that if anything happened to her I would need to take charge.

“I used to worry that I didn’t know anyone in London to turn to and I didn’t even know how to make a long-distance phone call to Australia. Soon after arriving in

London I remember taking some coloured chalks and drawing outside the tube station to collect for money, which I stashed away in case we needed it for food. I was probably wildly overestimating our insecurity, but I did feel very worried and as if the buck stopped with me.”

It was the acute absence of a secure family life that made Klein create a family of her own and in due course celebrate it in her art.

“My father is Hungarian Jewish and grew up in Tim-isoara, Romania. His family were extremely lucky to have survived there but, inevitably, life was hard and precarious and close family members died. Things got even worse for Jews when the communists took over. My father, with his parents and his orphaned teen-aged cousin, escaped, first to Israel then to Australia.

“Like all Jewish children of my age, I grew up with the war and the Holocaust as a very strong background presence, although I remember when they spoke of lost relatives, conversations were always in Hungar-ian. And when particular names were mentioned, my grandmother would cry. I suppose that left me from


a very early age wondering how it would feel to lose your home, family and ordinary life.”

Klein grew up ambitious and driven. At the age of 17 she went to Italy with a list of paintings she intended to sketch. In 1979, she enrolled at the Slade School of Fine Art where she met her husband, Nigel, and

was mentored by the Portuguese artist Paula Rego, but she found herself out of step with the abstract art expected of her. It was a notebook of drawings of her daily life that saved her from giving up art altogether. “It was Paula who encouraged me to draw what I want-ed to draw.”

And so it was at the age of 25 that Klein – married, pregnant and unemployed – began making prints at home about her life and eventually about her role as

wife and mother. Her subject matter has always been small moments: being besieged by two children want-ing hugs at the swimming pool, mending a daughter’s teddy bear, choosing a guinea pig, driving young girls to ballet, a first day at school – but for all their appar-ent simplicity (for many years Klein’s figures simply had dots for eyes) they capture the rich essence of a minor domestic moment. Nigel in his boxer shorts catching an escaped mouse in the kitchen is hardly even a story, but with the two daughters clinging to their mother, it encapsulates the family dynamic and

18

elevates the quotidian to an art form.

Family in Klein’s pictures is almost exclusively nuclear. There are virtually no pictures that include her parents or sister or indeed Nigel’s family. This was not a delib-erate decision. “Generally the pictures are confined to intimate day-to-day life so unless I am actually shar-ing a kitchen and bathroom with someone, they don’t feature.”

Klein admits it may also have its roots in her attempt to create a happy family for herself: “I’m celebrating my precious little family unit.”

There is one other aspect of family life that she de-picts explicitly. Her relationship with the ever amiable Nigel is celebrated in pictures such as Nige Gets his Legover, Nige Gets in my Bath, Without my Nightie, and Hotel Room Paris. But the two worlds only inter-mittently overlap. Although Nigel sits with the daugh-ters (on the bath, at the breakfast table, in front of the television) and does useful things (catching pets and making apple crumble), he isn’t depicted doing the child-rearing. Daddy’s Home is a joyous bathroom scene with his smiling face coming round the door, but only Klein is in charge of the splashing daughters.

She admits that this reflects the reality of their family life: “Nigel did not really do much day-to-day childcare. We were very Janet and John! Not because he was unwilling – although he is useless at night and never seemed to hear them wake up – but we were very young when our babies were born and he had to work

very long hours out of the house. I had never had a career to give up, and I threw myself enthusiastical-ly into home and childcare, using nap times to draw when they were babies, and school hours to paint as they grew up. This sounds very old-fashioned by to-day’s standards, but it worked for us.”

That is the beauty of Klein’s life and her art. Painting and drawing only what concerned her and devoting herself to being a mother, wife and artist has created not just an extraordinary body of work that will tell future generations what it was like to have a family at the beginning of the 21st century, but also a happy family life – the life she yearned for when at the age of 11 she drew on those London pavements.

The Guardian 10 October 2015Reprinted with permission: Adrian Mourby © 2015

www.adrianmourby.com


Anita Klein’s linocuts by Vincent Eames, introduction to catalogue 2012

ANITA KLEIN LINOCUTS

Linoleum was patented in 1863 and is most commonly known as a household floor covering. Durable and yet relatively easy to cut, artists soon recognised its potential as a printmaking material and by the early twentieth century the lino-cut had emerged as an art form in its own right. The perceived simplicity of linocut however and its widespread use as a teaching method for school children saw it struggle for acceptance as a fine art technique and lino cutting was often un-favourably contrasted with the refined skill and craft of wood engraving. Established artists would often label their linocuts as woodcuts to avoid critical disapproval and this contributed to the medium’s reputation as a lesser art form.

Despite this, major artists returned repeatedly to the linocut throughout the twentieth century and tellingly it was the very simplicity of the medium that provided the attraction. Matisse found the fluid ease of the lino cut to be the perfect vehicle for the supple draughtsmanship of his ‘Pasiphae Suite’ of 1944 and likened cutting the lino block with a gouge (cutting tool) to the movement of a bow across the strings of a violin. Picasso was seduced by the speed with which he could experiment with line and expressive colour through the medium. Typically he took this a stage further with his invention of the reduction or ‘suicide’ cut which allowed him to create multiple colour compositions from a single lino block (instead of cutting a new block for each colour.) The extraordinarily beautiful linocuts he produced during a sustained period of activity in the 1950’s and 60’s stand comparison with the finest of his graphic works. In England during the 1930’s, artists of the Grosvenor School, led by Claude Flight, saw in lino cutting’s facility and affordability the potential to make fine art practice accessible to a wider public. They also saw the medium as perfectly suited to depicting the frantic, restless pace of modern life. These precedents offer a clue as to why Anita Klein has engaged so successfully with the possibilities of the linocut and we have been extremely privileged to witness at first hand how Anita has rapidly mastered a new artistic language.

‘Angel of the Hedge’, 2008 was one of the first examples of Anita revisiting linocut since her time at the Slade and in com-mon with her familiar dry point images, she was clearly drawn to the generous possibilities for line drawing afforded by the medium. Future developments are hinted at by Anita’s experiment of printing a lighter colour over a dark ground so that the carved line would be revealed in black. This is progressed further in pieces such as ‘Spring Waking Up’, 2009 where the sinuous potential for drawing/carving is realised to full effect.

A step change can be seen in works such as ‘Bird in Spring‘ and ‘Bird in a Red Sky’ both from 2011, when the dramatic introduction of colour coincided with Anita’s discovery of a new range of printing inks. This opened up a wealth of opportu-nities for Anita and she clearly relished how lino cutting allowed her to explore ideas almost as quickly as she could come up with them. Progress was swift and the summer of 2011 saw Anita intertwine the colour and line of her linocut work with increasing sophistication. ‘November’, 2011 with its bold swathes of vivid colour counterpointing the intricate carving of the composition is a particularly successful image in this regard. Furthermore, as an interpretation of a canvas from her exhibition ‘Through the Looking Glass’ (June 2011) that had marked such a major step forward in her painting practice, ‘November’ suggests how her linocuts might enable Anita to forge a new dialogue between her painting and printmaking.

A real momentum was now behind Anita’s linocuts and an exciting body of work had evolved over a very short space of time. ‘Poppies’ of Autumn 2011 can be seen as something of a watershed. We can vividly recall Anita showing it to us in her studio and the thrill we both felt on seeing what is surely a defining work for the first time, is fondly remembered. An ambitious synthesis of bold colour, composition and technical daring (witness the white ink printed over black to create the pattern of the table cloth) ‘Poppies’ eloquently expresses the lessons Anita had absorbed to date and serves as a con-fident herald of the even more sophisticated work to come.

But what is it about the linocut that has provided Anita with such a fruitful challenge? To these engrossed observers it seems that, quite simply, Anita has found in lino a medium that can keep up with her. Anita’s growing mastery of the lino-cut has allowed her to give full rein to all the primary preoccupations of her practice: bold, expressive colour, fluid, con-fident line, and deceptively simple design, while working at a pace that allows new ideas to flourish and take flight. Such fluency is rare indeed for even the most technically proficient printmaker. When harnessed by Anita’s sheer hard work and dedication to creating, the result is astonishing and increasingly ambitious compositions have issued from Anita’s studio on an almost weekly basis.

This catalogue represents a formidable and beautiful body of work but it is also a testament to an artistic imagination at full throttle. It is exhilarating to behold.

Rebecca & Vincent Eames

The Fine Art Partnership, Spring 2012

20

Liederzyklus – The Printmaking Song Cycle

A song cycle (Liederzyklus) is a group, or cycle, of individual-ly completed songs designed to be performed in a sequence as a unit connected coherently in some manner. The nature of this synergy can nevertheless take many forms.

I first participated in the Lessedra World Art Print Annual in 2005, and was honoured with the first prize that year. This was the start of my relationship with Georgi Kolev and the Lessedra Gallery. Over the years since, I have introduced

my students at Zayed University to the annual, encouraging their participation each year. In 2014, my student Mariam Al Ali was awarded first prize at the annual, symbolically bring-ing the symbiotic relationship of the mentor and mentee full circle. This spring, she and I had a joint exhibition at Lesse-dra gallery entitled Synergy.

As a professor of visual arts, it brings me great satisfaction to see my students grow and emerge to join the professional art world. The Lessedra Print Annual has provided such a professional platform to highlight their work alongside artists from all over the globe. Witnessing one of my students win the grand prize and then having the opportunity to exhibit alongside her was indeed an immense honour.

Synergy, comes from the Greek word sunergos, which means working together. It is defined as the interaction of two or more agents or forces so that their combined effect is great-er than the sum of their individual effects. It is also described as cooperative interaction among groups that create an en-hanced combined effect when working together.

AlAli and I explored synergy in a variety of manifestations in this exhibition. Our symbiotic relationship, which began in the classroom with I as AlAli’s teacher at Zayed University

2016SPECIAL PRESENTATION


in the United Arab Emirates (UAE), brought to the surface the importance of the mentor and mentee relationship. Syn-ergy is also reflected in the collaborative environment of the

printmaking studio where each individual working there con-tinuously nourishes and inspires one another. Moreover, the works being created in the studio are constantly moving and interacting with other artist’s works on international platforms in the form of exhibitions and printmaking exchanges. This is reflective in the International Lessedra World Art Print Annual where artists and their works from around the world come together to mingle and inspire each year. For those who can-not be there alongside their work, they learn about their in-ternational peers through the catalogue of works which is distributed to all participants.

It is through the discourses and coherence facilitated by events such as the Lessedra World Art Print Annual that over time creates an on-going and perceivable song cycle of printmaking.

Through our work, AlAli and I explore relationships beyond

that of ourselves in our own cycles, individually expressing our own personal symbiotic relationship with a very close individual in our lives. Through our work we filter the poignant experience of watching these loved ones suffer through de-generative illness and their death.

It is the cherished relationship with her grandmother that

AlAli’s work explores, an inspirational figure and family men-

tor who suffered with diabetes and various other related ail-ments. I explore the strong, close and spiritual relationship with my mother who suffered several years with Dementia. Both of us express how the synergism transforms during their illnesses, and how the spiritual union remains intact fol-lowing their deaths.

My work conceptually explores matter, energy, mind and spirit and their interplay immersed in the experience of the ephemeral. I take a poignant look at the body as a vessel, and how disease can slowly decay the tangible and in turn release the intangible. Through this, I contemplate the infinite nature of energy (and its location) and the transformation of

the spiritual traveller leaving their physical body into an astral one, in different realms, in different locations. The imagery is largely based on imagined maps and a palimpsest of text. Unconventional maps signify ‘place’ and ‘distance’ demon-strating both the physical and the mental distance experi-enced between myself and my mother during her battle with Dementia. I portray map imagery in an abstracted manner to

22

AHLAM ABDULRAHMAN AL JABERI, UAE, Digital Betta Artist, 2016, Multi Plate Etching, Digital, 26x21 cm

HAFSA SALEH AL JEFRI, UAE Untitled I, 2016, Etching, 29x23 cm

HАJER NASER ALI AL ZAIDI, UAE, Untitled I, 2016, Multi Plate Etching and Digital, Ink, 28x23 cm

convey how the direction we anticipate in life can be diverted at any given moment without notice. More recently map imagery is used metaphorically as an attempt to locate my mothers spiritual location since her death. The use of fragmented text recalls haunting conversations I had with her during her illness. It is my intention to abstract these statements drawing parallels with my mother’s loss of writing and language skills.

The imagery in AlAli’s work is largely based on medical scans and cell imag-ery, which trace the various ailments and stages of illness progression. Text embedded into these large-scale prints are collective thoughts, emotions and prayers of the artist as she and her family live through the continuous poignant journey. While the human cells represent growth and disease pro-gression, AlAli also represents the honeycomb, a mass of hexagonal cells built by bees as their home. The use of the hive represents the artists’ family unit. It signifies love within the family, domestic stability, harmony and syn-ergy amongst its members. The hive is guided by the queen, who insures new life, and continuation of the colony. This is symbolic of her grandmother who was a strength and guide for her family.

The works of AlAli and I both explore the synergy between traditional print-making and the infusion of technology such as 3D printing, pigment printing, laser cut and laser engraved prints incorporating light, shadow and anima-tion.

Another cycle continues as this year’s annual once again featured the work of emerging Emirati Artists from Zayed University. Coming from a nation established only 45 years ago, these artists are key contributors to the de-velopment of printmaking in the United Arab Emirates. The works in this par-ticular feature are a collection of personal memories that reflect the artists’ self, their family, their culture, their faith and their nation.

On behalf of the College of Arts and Creative Enterprises at Zayed Univer-sity in the United Arab Emirates, we would like to thank you for opening your doors to our young artists to showcase their work on this international stage.

Karen Oremus

Associate Professor, Zayed University

United Arab Emirates

Karen Oremus, Sacred Geometry II Series,2016, 14 Sequentially Laser cut Pigment and Screen Prints


MAITHA MUHAIR AL MAZROUEI, UAE, Untitled II, 2016, Etching Plate and Digital Print, 29x23 cm

REEM MOHAMED AL HASHMI, UAE, Today I, AP 2, 2016, Etching, 29x23 cm

SHAMSA MUHAIR AL MAZROUEI, UAE, Secret Message III, 2016, Multi Plate Etching, 29x23 cm

SHAMMA HUMAID AL MANSOORI, UAE, Untitled I, 2016, Etching, Digital Print, 22,5x27,5 cm

SHAIKHA JUMAA AL DHAHERI, UAE, Source of Strength, AP 3, 2016, Multi Plate Etching and Digital, 29x23 cm

AALA ALI AL SAYERI, UAE, Back to Life 1, 2016, Etching, Digital Print, 27,5x22,5 cm

ANOOD SALEH AL MERRI, UAE, Untitled I, 2016, Multi Plate Etching and Inks, 27x20,5 cm

JAWAHER HUSSAIN AL HOSANI, UAE, Sea Genera-tion I, 2016, Etching, Digital Print, 28,5x23 cm

24

University of South Dakota

We’re USD - the state’s flagship university: The big-time university with a small-college feel. We’re memorable men-tors and lifelong friends. We’re world-class academics and out-of-class opportunities. We’re innovative technology and long-standing tradition. We’re your university. We are South Dakota.

Our Philosophy - Department of Art

The distinguishing characteristics of the Department of Art are our unique programs of study, outstanding faculty and professional degrees. We offer comprehensive art study in aesthetics, scholarly, historical and technical studio instruc-tion. Our students focus on developing who they are as an artist or designer.Undergraduate students spend their first two years striking a balance between art and general education classes where we encourage personal and creative growth. In their junior and senior years, students find themselves in an immersive art environment where they focus on their area of speciali-zation and portfolio development. It is our goal to guide students toward understanding of art creation and critical analysis of visual art and design as we prepare students for transition into careers in the visual arts.

PrintmakingThe USD philosophy of the printmaking program is to men-tor students to gain the knowledge and skills in both tradi-tional and alternative printmaking processes as the means to develop their personal voice. The focus is to provide students the educational opportunities and experiences to foster independent thinking, artistic courage and integrity. Department of Art facilities offer the full range of traditional and alternative printmaking processes to allow students to explore any aspect of the medium in their educational journeys.

2016SPECIAL PRESENTATION - Prof. JOHNTIMOTHY PIZZUTO with students

University of South Dakota, U. S. A.

JOHNTIMOTHY PIZZUTO, U. S. A., Penny Dreadful: A Certain Stare, 2016, Engraving, Mezzotint, Hand Coloring, 12,5x9,5 cm

TAYLOR VAN WYHE, U. S. A., Yesterday, 2016, Screen Print, 20,5x28 cm


AARON C. PACKARD, U. S. A., Untitled (You Missed I), 2016, Water Based Serigraph, 19,5x16,3 cm

MARCI SMITH, U. S. A., Release, 2015, Dry Point and Chine Colle, 14,5x9,3 cm

EPIPHANY KNEDLER, U. S. A., Trumpster, 2016, Dry Point and Chine Colle, 12,5x10 cm

CAMERON RENKLY, U. S. A., Inversion, 2015, Linocut, 25x20 cm

REBECCA FROEHLICH, U. S. A., Birth Night, 2014, Intaglio, 22,5x15 cm

STEPHANIE VONDERAHE, U. S. A., Claustrophobic, 2016, Mezzotint, 14,5x22,3 cm

INTERNATIONAL ARTISTS

CONTEMPORARY ART PROJECTS2016


6 AKEMI OHIRA, U. S. A., Self Portrait as a Dragon

Lady, 2016, Mezzotint, 12x9,8 cm

7 AKIRA SUZUKI, Japan, Yuzu-II, 2015, Mezzotint,

9,6x9,6 cm

8 ALEKSANDRA BURY, Poland, Under Water Surface II,

2016, Aquatint, 8,8x13,8 cm

9 ALEKSI JOENSUU, Finland, Bowl of Happiness, 2016,

Dry Point, 13x14 cm

10 ALEXANDRU JAKABHAZI, Romania, Garden Ladder,

2015, Etching, Intaglio, 13x15 cm

11 ALICJA SNOCH – PAWLOWSKA, Poland, The State

of the Balance 42K, 2015, Mixed Media, 7x9,5 cm

12 ALJA KOSAR, Slovenia, Untitled II, 2016, Etching,

12x12 cm

13 AMARYLLIS SINIOSSOGLOU, Greece, No 740,

2015, Polymer Plate, 19x8 cm

1 ADRIANA LUCACIU, Romania, Don`t look back!,

2016, Relief printed Engraving,8 x8 cm

2 ADRIANO CASTRO, Brazil, Half Impala II, 2016, Dry

Point, Aquatint, 10x10 cm

3 AGATA CIESIELSKA, Poland, Jealousy, 2014, Litho-

graph, 9,5x5,5 cm

4 AHUVA DORON, Israel, The Runner, 2015, Aquatint,

27x20 cm

5 AIDA STOLAR, Israel, Untitled I, 2015, Collograph,

24,5x18,5 cm

1

5

8

10

9

4

2

6

3

7

12

13

11

28

1 ANIELLO SCOTTO, Italy, Morti nel properio candor II,

2015, Etching, Aquatint, 17x13,2 cm

2 ANNA ARMINEN, Finland, Kummeliluoto (The Cairn

Islet), 2016, Etching and Carborundum, 10x10 cm

3 ANNA TOMICA, Poland, Creation of Earth, Land-

scape VIII, 2015, Digital Print, 10,8x27 cm

4 ANNE DESMET, England, Pineapple, 2016, Wood

Engraving, 8x6,4 cm

5 ANNE SMITH, Australia, Summer`s Day I, 2016,

Etching, 15,5x12 cm

6 ANNE – MARIE BERGDOL, Switzerland, 2012, 2013,

2014, and how long?, 2016, Photo Gravure, 23x26,5 cm

7 ANNI FIIL, Denmark, Rur II, 2015, Photo Polymer Gra-

vure, 21x14 cm

8 ANTHONY DIMICHELE, U. S. A., The Violence of Obe-

dience, 2015, Monoprint, 22,5x29,5 cm

9 ANTONINE BATHUEL, France, Le reve de Perrette,

2016, Gravure sur Plexiglas, 9x12,7 cm

10 ANTONIO CANAU, Portugal, Hands handling Pup-

pet of Hands, 2016, Digital Print, 10x12,8 cm

11 ARIS ENGEL, The Netherlands, 13 – 10 – 15,

2015, Etching, 20x12 cm

12 ARZU GOK, Turkey, Follow Up, 2016, Etching,

22,5x29 cm

13 AYAKO IGUCHI, Japan, View – 5, 2015, Woodcut,

10x10 cm

1

5

8

9

4

2

6

3

7

12

13

11

10


1 BARBARA NISCIOR, Poland, Impression 2, 2016,

Collography, 5x5 cm

2 BEATRICE PALAZZETTI, Italy, Moonlight, 2016, Mixed

Media, 25x20 cm

3 BERNADETTE MARECHAL, Belgium, Dieu n`existe

pas mais on va quand meme y croire sans lui (Vol-

taire), 2015, Aquatint, Dry Point, 9x9

4 BERTE KOEHLE, Denmark, Fish and Bird, 2015,

Etching, 10x10 cm

5 BIRGITT WOLNY, Germany, Three Eggs, 2014, Fine

Art (Digital) Print, 22,5x17 cm

6 CALVIN S. MOORE, U. S. A., Untitled I, 2015, Relief

(2 Color Reduction Woodcut), 20x25,5 cm

7 CARINA AKERMAN – FIJAL, Sweden, Poppy Seed I,


8 CARL EMANUEL MARK, Sweden, Room, 2016,

Mixed Media (Flat), 10x10 cm

9 CAROL HAYMAN, U. S. A., Hand and Bird, 2016,

Photo Intaglio, 12,5x10 cm

10 CATALINA DURAN MCKINSTER, Mexico,

Grave # 43, 2016, Etching, Aquatint, 12x15 cm

11 CATHERINE PROSE, U. S. A., Two Burrowing

Owls, 2015, Screen Print, 11,7x12 cm

12 CATHERINE TAM, Canada, X 3-10, 2016, Etch-

ing, 7,5x7,5 cm

1

5

8

4

2

6

3

1210

7

9

11

30

1 CEZARY KLIMASZEWSKI, Poland, BUD – 2, 2015,

Etching, Dry Point, 8x14,5 cm

2 CHIKAKO KAMAGA, Japan, Poppy, 2015, Copper

Print, 14,5x10 cm

3 CHRIS FIRCHOW, Germany, Heaven, 2016,

Etching, Aquatint, 6x7,5 cm

4 CORINNA SCHROEDER – VFRIHLING, Germany,

Tree?, 2016, Etching, 15x7,5 cm

5 CYNTHIA MILIONIS, U. S. A., Untitled II, 2015,

Aquatint with Collage, 15x15 cm

6 DAN McCORMACK, U. S. A.,

Robbie_J_6-27-15—08AC, 2015, Pinhole Camera,

Digital pigment print, 14,9x14,9 cm

7 DANIEL COCCA, Sweden, Blue Dreams III, 2016,

Mezzotint, Collagraph, 20,7x16,5 cm

8 DAVID LIBURN, Ireland, The Arena III, 2016, Dry

Point, Chine Colle, Watercolor, Diameter 12 cm

9 DAVID SARASA RENEDO, Spain, Constelacion-

Evolucion, 2016, Dry Point, 10x10 cm

10 DIANA KLEINER, Argentina, Sandman III, 2015,

Etching, Chine Colle, Photo Engraving Metal Matrix

included, 19x19 cm

11 DUSANKA JABLANOVIC, Switzerland, Stone and

Grass, 2015, Photopolymer, 14,5x21 cm

12 EEVA HUOTARI, Finland, Coming Home, 2016,

Etching, Aquatint, 10x8 cm

13 EKIN DEVECI, Turkey, Untitled, 2016, Etching,

19x19,5 cm

1

5

8

9

4

2

6

3

7 12

13

11

10


1 ELINA AUTIO, Finland, Remember, 2016, Mono

Print, Photo Etching, Diameter 17 cm

2 ELISABETH JOBIN – SANGLARD, Switzerland, Let-

ters EXTRA, 2016, Digital Prints, 15x15 cm

3 ELKA KAZMIERCZAK, Poland/U. S. A., Dancing

Pisces, 2016, Linocut (2 Colors), 12x12 cm

4 ELMAR PEINTNER, Austria, Boulders # 78, 2015,

Etching, 9,7x10 cm

5 ERLING GUSTAVSSON, Sweden, Poem II, 2015,

Letterpress, 19x17 cm

6 ESMA TATAR, Turkey, Time and Space, 2016,

Mixed Media, 10x6 cm

7 ETSUKO MIZUKAMI, Japan, Around a Star Festival,

2015, Woodblock, 22x15 cm

8 EVA GALLIZZI, Switzerland, The Librarian, 2016,

Linocut, 10x8 cm

9 EVA TOKER JAWERBAUM, Argentina, De Sueflos,

2016, Polymer Etching, 23x23 cm

10 EVA – MARIA SJOELIN, Sweden, The Basket,

2016, Digital Art Print, 12,8x12,2 cm

11 EVAN BERG, Canada, No more Games, 2016, Ultra

Violet Screen Print, 14,8x15,5 cm

12 FADLI MOKHTAR, Malaysia, Uncharted Territory,

2016, Monoprint, Collage, 29x23 cm

13 FEE BRANDENBURG, Germany, Creatures I, 2016,

Stone Lithograph, Linocut, 26x19 cm

5

8

9

4

2

6

3

7

12

13

11

101

32

1 FLOKI GAUVRY, Argentina, # 7723 c, 2015, Digital

Print, 19x25 cm

2 FLORENCE CHAPUIS, France,

Automne, 2014, Etching on Copper,Triptych,

3 x 7,5x7,5 cm

3 FRANCINE STEEGS, The Netherlands, Eye Contact,

2016, Silkscreen, 13,5x20 cm

4 FREDERIQUE BADONNEL, France, Verseau, 2015,

Lino gravure, 12x9 cm

5 FREDI P. BUECHEL, Switzerland, Banking Square

at Night in Geneva, 2015, Linocut (9 Colors),

15x21 cm

6 FUMITAKA TOYA, Japan, Study of Mr. S, 2014,

Etching, Aquatint, 17,5x22 cm

7 GALLE WINSTON KOFI DAWSON, Ghana, Two Girls,

2016, Serigraph, 21x20 cm

8 GENEVIEVE GUADALUPE, U. S. A., Goat Tree,

2016, Woodblock Print, 13,5x20 cm

9 GHISLAIN BLERIOT, France, Portrait, 2015, Mez-

zotint, Dry Point, 19,5x14,5 cm

10 GILL SPEIRS, England, Homage V.G. II, 2016,

Linocut, 16x16 cm

11 GINA PAGE, Canada, Mussels, 2016, Etching,

Aquatint, 15,2x11,7 cm

1

11

2

3

4

5

6

7

89

10


1 GISELA K. WOLF, Switzerland, Diary 16, 2016,

Drawing, Monotype, 21x17 cm

2 GRAINNE DOWLING, Ireland, Too Hot, 2015, Etch-

ing with Roll up, 9x6 cm

3 GRAZYNA KULIKOWSKA – ANTCZAK, Poland,

Symmetry II, 2015, Mezzotint, 9,9x9,9 cm

4 GRETHE HALD, Norway, Pacific, 2015, Photopoly-

mer, 17x12 cm

5 GUADALUPE MORAZÚA, Mexico, Reflejos en el

Aguas 2, 2016, Monotype, 16x12,5 cm

6 GUDELIA KOBELT, Switzerland, My Jolly ances-

tral Portrait Gallery II, 2016, Gravure and Collage,

20,3x13 cm

7 HANA LEVAV, Israel, The Church, 2016, Etching,

10x10 cm

8 HARUKO CHO, Japan, B-cushion plover 1 m, 2016,

Piezograph, Screen Print, 15x22,5 cm

9 HEINZ ALLEMANN, Switzerland, Phalaenopsis,

2016, Digital Print, 10,8x15,5 cm

10 HELGA HOFER, Austria, Office Robot, 2016,

Woodcut, Hand printing, 27,5x20,3 cm

11 HELLE LOEHMUS, Estonia, Dialogue I, 2016, Dry

Point, 12x12 cm

12 HENRY POUILLON, Belgium, Sweet Home (2),

2016, CGD, 28x20 cm

13 HERMANN ROMMEL, Germany, Head II, 2016,

Etching, 10x15 cm

1

5

89

4

2 6

3

7

12

13

11

10

34

1 HILKE ELIZABETH HELMICH, Germany, Wanderung

am Strand 16, 2016, Etching, 9,9x9,9 cm

2 IDAHERMA WILLIAMS, U. S. A., Sea Horses,

A/P 1, 2016, Woodblock Print, 15x10 cm

3 IGOR OSTER, Germany, Mirror 2, 2016, Linocut,

20x14,8 cm

4 ILDIKO BIRO, Romania, Torso IV, 2015, Digital Print,

12x19 cm

5 INES HUBACHER, Switzerland, Out There (1),

2016, Monotype, 13,5x18,5 cm

6 IRENE BOULANGER – MICHAUD, Canada, Le

Bonheur, 2015, Monotype (Plexiglas, Watercolor),

16x19 cm

7 ISABELLE GOURCEROL, France, Dance, 2015, Xy-

lography, 14,8 x 14,8 cm

8 IWONA RYPESC – KOSTOVIC, Poland, Too Close

Encounter III, 2016, Digital Print, 28,5x20,5 cm

9 IZTOK SMAJS – MUNI, Slovenia, Universe Un-

solved, 2016, Digital Print, Diameter 14,3 cm

10 JAMES MCCREARY, Ireland, Oriental Sweeties,

2015, Mezzotint, Aquatint, 10x20 cm

11 JAN K. PERSSON, Sweden, Sun Grip, 2016, Giclee,

19x27 cm

12 JAN PALETHORPE, Australia, Kangaroo Sphynx,

2016, Etching, Triptych, 3x20x14 cm

1

5

8

4

2

6

3

7

11

12

10

9


6 JENNA KIRKWOOD, England, Waterfall (2), 2015,

Carborundum, 15x15 cm

7 JENTI HANNELE SALMINEN, Finland, The Pillow,

2015, Monotype, 20x25,2 cm

8 JOE RYAN, Ireland, Britney, 2016, Linocut, 10x10 cm

9 JOSE OP TEN BERG, The Netherlands, Scandola I,

2016, Woodcut, 13x18 cm

10 JOSEE WUYTS AND FRANS DE GROOT, The Neth-

erlands, Shelter, 2015, Dry Point, Etching, 20x18 cm

1 JAN WELLENS, Belgium, The Red Mudguard, 2016,

Linocut, 23x17 cm

2 JANNE LAINE, Finland, Misty Island I, 2015, Poly-

mer Gravure, Aquatint, 10x10 cm

3 JASMINA NEDANOVSKI, Slovenia, Untitled I, 2016,

Reservage, 26,5x19,5 cm

4 JAUNETH SKINNER, U. S. A., Attitude, 2015, Linocut,

Hand colored, 18x12 cm

5 JEAN – YVES SZMIDA, Belgium, Plane Schmieden,

2015, Zink Print, 13x18 cm

11 KANA KOBAYASHI, Japan, Work No 14, 2015,

Etching, 15,5x12,5 cm

12 KARIN BYRNE, Austria, Screen, 2015, Etching,


13 KATARZYNA BETLINSKA, Poland, Determination,


1

5

8

9

4

2

6

3

7

12

13

11

10

36

1 KATARZYNA PYKA, Poland, The Table I, 2015,

Digital Print, 10x7,7 cm

2 KATRIN SMITH, Canada, Flourish, 2016, Relief

(2 Plates), 9,5x9,5 cm

3 KATSUKO ONO, Japan, From Me to You, 2016,


4 KAYOKO TATSUBORI, Japan, Cat, 2015, Woodblock,

9,3x17 cm

5 KAZUMI KAKIZAKI, Japan, Leafy Shade, 2015,

Intaglio, Dry Point, 18x12 cm

6 KAZUO TANABE, Japan, Cat III, 2015, Woodblock

(Acrylic Print), 29x23 cm

7 KEIKO KOBAYASHI, Japan, Ice on Lake Baikal,

2016, Xylography, 10x15 cm

8 KEISUKE KOJIMA, Japan, Imagined Scenery 16-01,

2016, Etching, Aquatint, 16x23 cm

9 KELLI VALK, Estonia, Heart + Heart, 2016, Mixed

Media, 15,5x23 cm

10 KIRSI KUUSISTO, Finland, Asylum, 2016, Carbo-

rundum, Dry Point, Paper Lithograph, 12,5x20,5 cm

11 KIRSTI AASHEIM, Norway, Diffusion, 2016,

Screen Print, 29x23 cm

12 KISEKO OGASAWARA, Japan, Stones II, 2015,

Mezzotint, 22,5x14,9 cm

13 KRZYSZTOF SZYMANOWICZ, Poland, Diary II,

2016, Linocut, 15,5x25 cm

14 KUMNAM BAIK, Korea, Recollection XI, 2016, CG

Pigment Print, 10x10 cm

1

5

8

9

4

2

6

3

7

12

13

11

10

14


1 LACIA VOGEL, Canada, Spectrum, CK, 2015, Ultra

Violet Silkscreen, 28x21,5 cm

2 LAURENT WILMET, Belgium, Do not Cross, 2016,

Linocut, 8,2x8,2 cm

3 LIA STOUTEN, The Netherlands, Untitled II, 2015,

Etching, 27x21 cm

4 LINDSEY GRAHAM, England, Loving New Zealand,

2016, Linocut (on Japanese Paper), 18x18 cm

5 LISA GRAHAM, U. S. A., Serendipity in Blue, 2016,

Digital Print, 10x10 cm

6 LIZY BENDING, England, The Revolutions: The

Tulip Revolution (Kyrgyzstan 2005), 2015, Dry Point,

Monoprint, 25x17,5 cm

7 LOLITA VORKALE, Latvia, The Circus of Evening,

2016, Etching, Aquatint, Dry Point, Relief Printing,

15x14 cm

8 LORENA VARGAS, France/Chile, Couple, 2015, Dry

Point, 15x10 cm

9 LOUIE SMITH PEGNA, England, Yeti I, 2015, Screen

Print, 15,5x16 cm

10 LOUISE GROSE, England, Falcon Flying, 2016,

Mixed Medias, Pigment Print, 15, 5x21 cm

11 LUC ETIENNE, Belgium, Interligne I, 2016, Wood-

cut, 26,5x20,5 cm

12 LUCE, Belgium, Impressions I, 2016, Spit Bite,

Aquatint, 8x15,5 cm

13 LUIS ARIAS, Costa Rica, La Selkie,

2016, Engraving, 10x10 cm

1

5

8

94

2

6

3

7

12

13

11

10

38

1 MAGALI ACCOMASSO, France, Ad Lumen: La suite

des saisons est une memoire, 2016, Gravure with

Gold Leaves on Hand made Paper, 10x10 cm

2 MAGDALENA NISCIOR, Poland, Creation, 2015,

Siligraphy, 21x17 cm

3 MAKI MIMURA, Japan, Hello!, 2015, Etching,

17x5,5 cm

4 MALKA MOSBERG, Israel, Shadows, 2015, Sugar

Lift, Aquatint, 19,8x12,3 cm

5 MANFRED EGGER, Austria, Dreamtime I, 2015,

Woodblock Print, 22,5x20,4 cm

6 MANUEL LAU, Peru/Canada, Guanlan Suite:

Mexicali # 2, 2015, Stonecut, 29x23 cm

7 MARCELLE BENHAMOU, France, La derive des

continents, (after Ovide`s Metamorphoses) III, 2016,


8 MARGARET BECKER, Ireland, First Egg, 2015,

Etching, 22x20 cm

9 MARIA AMSJÖ, Sweden, Swimmer, 2015, Etching,

12x15 cm

10 MARIA HEED, Sweden, FJADERHAND (Feather

hand), 2015, Etching, 12,5x9,5 cm

11 MARIA ROSA BURI, Argentina, Untitled, 2015,

Viscosity Printing (Hayter), 8,8x8,5 cm

12 MARIE – LOUISE MARTIN, Ireland, Radicondoli-

January, 2015, Etching, 25,5x19,5 cm

13 MARIE – ODILE GIARD, France, Women and Flow-

ers, Butterflies No 6, 2016, Dry Point, 21x15 cm

14 MARIEA PETCU, Romania, Illustration Paul

Celan II, 2015, Etching, 14,8x6,3 cm

1

5

8

9

4

2

6

3

12

13

11

14

10


1 MARIKO FURUSHO, Japan, Papillon Amber, 2015,

Mixed Media, 14,8x14,8 cm

2 MARINA MERTENS, Belgium, War and Peace,

2015, Line Etching colored with, Aquatint,

19x14,5 cm

3 MARISA BOULLOSA, Mexico, Religion, 2015, Alu-

minum Lithograph on Japanese Paper, Chine Colle,

Woodblock in Red, 29x21 cm

4 MARITZA GRANADOS, Colombia, I keep falling,

2016, Folded Paper (Ink printed), 19x15x4 cm

5 MARK GRAVER, New Zealand, The First,

The Last III, 2016, Archival Inkjet, 16x23 cm

6 MARLYSE PERMANTIER, Belgium, Sous-bois,

2016, Wood Carving, 14,5x20,5 cm

7 MARTINE MERTENS, Belgium, The Spring, 2015,

Dry Point, Hand colored, 20x25 cm

8 MARY FARRELL, U. S. A., Short Story Variation 1,

Woodcut, Monoprint, 24x16,5 cm

9 MARYANA MYROSHNYCHENKO, Ukraine, Icarus,

2015, Etching, Aquatint, 14,7x9 cm

10 MASATOSHI OZONE, Japan, Crescent, 2015, Mez-

zotint, 14,8x9,8 cm

11 MATHEW GLENN, Canada, Untitled (Bag), 2016,

Ultra Violet Screen Print, 14,5x8,8 cm

12 MATJAZ PENKO, Slovenia, Ray, 2016, Screen Print,

25x15,7 cm

13 MAUD PROBST, Sweden, Laika in the Mirror, 2015,

Photo based Art Print, 11,5x11,3 cm

1

5

8

9

4

2

6

3

7

12

13

11 10

40

1 MAY MARSCHAL LEYMAN, Sweden, Body II (Pink),

2015, Mono Print, 26x20 cm

2 MAY OANA ISAR, Romania, A Bird over a Cat, 2016,


3 MAYUKA WAKAI, Japan, River Wind, 2015, Etching,

19,6x14,8 cm

4 MERCEDES BALAGUER MITJANS, Spain, Entre Man-

chas, 2016, Monotype, 25x21 cm

5 MICHAELA WINTER, Germany, Stein vor Chaos II,

2016, Etching, Aquatint, Dry Point, 10x10 cm

6 MICHELINE COUTURE, Canada, Rizieres, 2015,

Numerical Print, 10,5x11,5 cm

7 MIHAEL PERCIC, Slovenia, Turtle 1120160001,


8 MIKA YAMASHITA, Japan, In Autumn, 2015, Etch-

ing, 9,5x19,8 cm

9 MIRIAM LIBHABER, Mexico, Vivace, 2016, Mono-

type, 12,5x16, 2 cm

10 MIRIAM SHALEV, Israel, Marching, 2015, Etching,

Hard Ground, Aquatint, 9,8x14,8 cm

11 MIWAKO OSO, Japan, Work 1501, 2015, Etching,

Aquatint, Japanese Paper, 12x14,5 cm

12 MONICA JACOBS, U. S. A., Residuum, 2015,

Mixed Media, Multiple Lithograph, 23x18 cm

13 MONIKA JULIETTE WALLY, Sweden, Zeta II, 2016,

Digital Print, 24x17 cm

1

5

8

9

4

2

6

312 13

11

10


1

5 8

9

42

6

3

7

12

13

11

10

1 MONTSE MARCET SOLER, Spain, Mexicaly, 2016,

Etching, 10x10 cm

2 MOTOAKI FUJIMOTO, Japan, Dance III, 2016,

Woodcut, 23,7x16,7

3 MUTSUKO ANDO, Japan, Seeks, 2016, Etching,

Aquatint, Gampi Paper, 10x10 cm

4 NAOMI KASAI, Japan, Fleur Blue II, 2016, Mixed

Media, 14,8x9,8 cm

5 NAOMI ZACH, Israel, Asteroid I, 2016, Engraving,

Aquatint, 16x23 cm

6 NATHALIE SOLDANI, Belgium, NU III, 2016, Digital

Print, 11,5x9,3 cm

7 NATSUMI KOMATSU, Japan, Sushi Shrimp, 2016,

Copper Plate, 7x10 cm

8 NESLIHAN KIYAR, Turkey, UNTITLED, 2016, Etching,

19,5x20,5 cm

9 ORLA LYNCH, Ireland, Herd I, 2016, Etching, Aqua-

tint, 7x7 cm

10 PAMELA DE BRI, Ireland, Hallaranny, 2016, Etching,

12x12 cm

11 PAMELA TURNER, Canada, First Meeting, 2016,

Ultra Violet Screen Print, 16,8x12,3 cm

12 PAOLO CIAMPINI, Italy, The old Man, 2015, Etch-

ing, 11,5x12 cm

13 PÁL CSABA, Hungary, Internal log 01, 2016, Digital

Print, 21x15 cm

42

4 PETER GEDEON, U. S. A., Puppet of Love, 2016,

Arch. Q. Inkjet Print on Crane`s Arch. Q. Paper,

24x18 cm

5 PIA OTTESEN, Denmark, Genetically engineered

branch III, 2016, Collagraph, 22,5x14 cm

6 PIOTR ZACZEK, Poland, Untitled 2, 2015, Linocut,

15x10 cm

7 PETER STERNANG, Sweden, Smyrna V, 2015,

Woodcut, 21x21 cm

8 PETR HAMPL, Czech Republic, Trail, 2015,

Etching,12x9,9 cm

9 PHILIP DARE, England, Tiny Little World, 2015,

Photo Polymer Etching, 20x14 cm

10 RACHEL SINGEL, U. S. A., Wild Turkey, 2016,

Intaglio, 10x19 cm

11 RADOLFO ENRIQUE SALMERON, Mexico, Barcos

Rotos, 2016, Monotype, 16x12 cm

12 ROBERT CREIGHTON, Canada, Le bateau d`or # 3,

2015, Etching with Chine Colle, 15x10 cm

13 ROBERT JANCOVIC, Slovakia, Vegetation, 2016,

Lithograph, 18,5x19 cm

1 PAUL CHAMARD, France, La frontiere, 2016, Etch-

ing, 10x10 cm

2 PAULA POHLI, Ireland, Monitored, 2016, Hand bur-

nished Linocut, 15x23 cm

3 PEKKA HOKKANEN, Finland, Mummy III – Loneli-

ness, 2015, Mezzotint, 15x10 cm

1

5

8

9

4

2

63

7

12

13

11

10


1

5

8

9

4

6

3

7

12

13

11

10

4 SELVIHAN KILIC, Turkey, Untitled, 2016, Serigraph,

14x7 cm

5 SERGE KOCH, Luxembourg, Chatting II, 2016, Digital

Print, 14x14 cm

6 SHEILA STOFFEL, Canada, Farm Series – Bees-

Burnt Umber, 2016, Etching, Aquatint (on Somerset

Paper), 18x19 cm

7 SHERI FLECK RIETH, U. S. A., Grandma Kitty and

Friend, 2016, Woodcut, Collage, 20,4x27,7 cm

8 SHIRLEY BERNSTEIN, U. S. A., Passing Pink, 2015,

Reduction Woodcut, 29x23 cm

1 SABINE GAZZA, France, DSC – 0074, 2015, Burin En-

graving, 2,4x3,6 cm

2 SANDY SYKES, England, Hare Shirt, 2015, Linocut,

12,5x8,5 cm

3 SASKIA EGGINK, The Netherlands, Room with a View II,

2015, Etching, Watercolor, Collage, 19,7x12 cm

9 SNEZANA STEFANOVIC, Serbia, Hatching of anti-being

or “The overcoming of men” (Nietzsche), 2014, Micro-

soft Paint, Digital Print, 16x27 cm

10 SOLANGE KOWALEWSKI, France, Petite Gravure

d`Ete No 8 (Small Summer Engraving No 8), 2016,


11 SONYA RADEMEYER, Republic of South Africa,

Sonic Circles, 2015, Step Bite, Aquatint, 15,4x19,7 cm

12 STEFAN SKIBA, Germany, L 104 Study 06

(No 04 of 30), 2015, Vector graphic on cardboard,

19x26 cm

13 STEFANO MAMMOLITI, Italy, Perche?, 2016, Dry

Point, 16x10,5 cm

44

1 STEVE BABBITT, U. S. A., Nancy, 2015, Polaroid

and Transfer, 11x8,5 cm

2 SUZANA FANTANARIU, Romania, Dragon (U),


3 TAKANORI IWASE, Japan, Waterside, 2016, Wood-

cut, 12x11,5 cm

4 TAKESHI SAYAMA, Japan, Pavement I, 2016, Wood-

cut, 25x17 cm

5 TALVIKKI LUSA, Finland, Room for Everyone, 2015,


6 TANIA BEAUMONT, England, Potato Sprouts, 2015,

Reduction Linocut (edition of 15), 20x21,5 cm

7 TARJA – LIISA SALO, Finland, Couple in Pink, 2016,

Photo Etching, 10,2x13 cm

8 TERASITA ZAMORA, U. S. A./Puerto Rico, Ola

de Serenidad Humana, 2016, Acrylic Silkscreen,

16,5x12,5 cm

9 THAMRONGSAK NIMANUSSORNKUL, Thailand,

The State of Impermanence 20, 2015, Silkscreen,

23x15,3 cm

10 THEO DAMSTEEGT, The Netherlands, Boxed In,

2016, Linocut (Shift Print*), 10x12 cm

11 TOMOKO SASE, Japan, Gonpachi, 2016, Etching

(Soft ground), 13,5x27,5 cm

12 TOSHIMI KITANO, Japan, Leaf – 1506, 2016,

Etching, Aquatint, Collagraph, 14,5x22,5 cm

13 TRISHA GUPTA, U. S. A., Manhattan Blue, 2016,

Collagraph, 28,5x22,7 cm

14 TSILA GOLDSTEIN, Israel, Cyclamens, 2015,

Etching and Chine Colle, 19,5x24,7 cm

1

5

894

2

6

3

7

12

13

14

11

10

*Printing a block several times on one and the same paper, shifting its position after each round of printing


1

5

8

9

4

2

6

3

7

12

13

11

10

1 TSUTOMU KONO, Japan, Way of a Prayer (inori-

michi), 2015, Woodblock, 20,5x28 cm

2 ULLA TARP DANIELSEN, Denmark, Love Story in

compiled graphics, 2016, Mixed Media, 23x16,5

3 URSULA KABIS, Canada, Hemingway`s Cat, 2016,

Etching, 20x10 cm

4 UTE WECKEND, Germany, The Red Umbrella, 2015,

Aquatint, Multi-color, 2 Copper Plates, 9,8x12,5 cm

5 VAL HENNIGAN, Ireland, Spring, 2016, Dry Point,

10x10 cm

6 VALERIE SYPOSZ, Canada, Speech, 2015, Mono-

type and Thread, 12,5x15,5 cm

7 VERENA FLUEHLER – STOECKLI, Switzerland,

Versteckte Schoenheit (Beauty), 2008, Etching,

18x12,7 cm

8 VICTORIA WESTMACOTT – WREDE, Germany,

Wood, 2015, Linocut, 10x15 cm

9 VINCENT SMETS, Belgium, 3 Monkeys: Kikazaru,

Steinbach, 2016, Serigraph, 15x10 cm

10 VIRGINIA ROUGON CHAVIS, U. S. A., Comfort,

2015, Letterpress, Mixed Media, 21,7x15,3 cm

11 VIRGINIA RUTH GIBBONS, Ireland, Audubon Proj-

ect # 2, 2015, Dry Point, 15x15 cm

12 WADE LOUGH, U. S. A., Three Portraits of King

Lear: Clown King, 2016, Manipulated Monoprint,

18x14 cm

13 WOLFGANG LIEBELT, Germany, Printonprints_se-

riesA03, 2016, Linocut, 20x20 cm

46

1

5

8

94

2

6

3

7

12

13

14

11

10

1 WU LIANG, China, Honey Moon, 2016, Dry Point,

Mezzotint, Buren Engraving, 17x12 cm

2 WU WENSHENG, China, Lady and Shanshui II,

2016, Etching, Soft ground Etching, 15x20 cm

3 YASUFUMI TAKANO, Japan, Coyote Study, 2015,

Dry Point, 10x20 cm

4 YOKO MUKAI, Japan, I well up, 2015, Photo Poly-

mer Print, 10x10 cm

5 YOKO UMEDA, Japan, Swallow Tail, 2015, Etching,

Aquatint, 10x11 cm

11 YURIKO ABE, Japan, Blue Egg, 2016, Etching,

Aquatint, 9x12 cm

12 YUTTHANA NIMGATE, Thailand, Life, 2016 Thai,


13 YVETTE CLEUTER, Belgium, Jerusalem Artichoke,

2015, Etching, 21,2x8,8 cm

14 YYHELY HALVIN, Estonia, Myself in Yourself,

2015, Dry Point, 21x17,8 cm

6 YOSHIKO KAWAMURA, Japan, Spring (Suzuka-

sumi), 2016, Woodblock, 17x12 cm

7 YOSHIKO KISO, Japan, Torso III, 2016, Intaglio,

17,5x17,5 cm

8 YOSHIKO MINO, Japan, Music – V Cello, 2016,

Etching, Aquatint, 20,8x14,5 cm

9 YU ICHINO, Japan, Pulsation II, 2016, Stone Litho-

graph, 22x15 cm

10 YUMEMI KOBAYASHI, Japan, Looking for the

Shadow of Mastuo Basho III, 2016, Woodcut on

Japanese Paper, 14x10 cm


1 AVRAM DIMITROV, Bulgaria, Fragments XVII, 2015,

Monoprint, 19,1x13 cm

2 BOZHENA SERAFIMOVA, Bulgaria, Life, 2015, Lino-

cut, 17,5x25 cm

3 CHRISTOPHOR KRUSTEV, Bulgaria, Figure A2,

2016, CGD, 20x14 cm

4 DANIELA ATANASOVA, Bulgaria, 21, 2016, Siligraphy,

18x10 cm

5 ELENA PETROVA, Bulgaria, Deep in Thoughts,

2016, Siligraphy, 21x9,3 cm

6 ELISAVETA VACHEVA, Bulgaria, RR, 2016, Etching,

Aquatint, Mezzotint, 17x10,7 cm

7 EMILIO BORATA, Bulgaria, Machine, 2015, Linocut,

17,5x25 cm

8 ERICA LEVENOVA, Bulgaria, Forever, 2016, Linocut,

5x7,5 cm

2016BULGARIAN ARTISTS

1

5

8

4

2

6

3

7

48

1

5

8

9

4

2

6

3

7

1 ESTER LIKASA, Bulgaria, The other half, 2016,

Etching, Aquatint, 19,7x10 cm

2 EVGENIY PANTEV, Bulgaria, Sign XVII, 2016, Dry

Point, 10x7 cm

3 IRENA ZHIVKOVA, Bulgaria, Bunny, 2015, Relief print-

ing, Dry Point, 10x14,5 cm

4 IVAN BACHVAROV, Bulgaria, Dream III, 2016, Etch-

ing, 20x15 cm

5 KALINA MILANOVA, Bulgaria, The Black Flight I,

2016, Siligraphy, 23x23,4 cm

6 SNEZHINA BISSEROVA, Bulgaria, Still Life I, 2016,

Etching, Dry Point, Aquatint, Mezzotint, 23x17 cm

7 SONIA RUSKOV, Bulgaria, Idolatry of the Time I,

2016, Mixed Media, 27x20 cm

8 TOMASZ BELEW, Bulgaria, Anti Alice, 2016, Etch-

ing, Aquatint, 13x10 cm

9 VALENTIN LEKOV, Bulgaria, Red Line, 2015, CGD,

14x9,5 cm

15th lessedra world art print annual · with special thanks for the cooperation to: ... and many of...

Documents