![]() ![]() I’ve still got stuff on the drawing board. What are your upcoming projects for the near future? ![]() Because of the limited nature of them, they’ve become very valued.Īnother serendipity thing. Part of the reason is, I think, it was such a rainy weekend, and I was printing on water-based inks so only a handful of those prints made it out of the concert in one piece. That’s what I did at Great Went, and that was a very good situation. One of these times, I’d love to come out with a nice, printed-from-scratch, on those premises. I’ll be around, but I didn’t bring my printing press. Yeah, it’s a little more scaled back, more impromptu like the Hampton show-putting the prints up, and showing the work. I can’t really afford to ship the frames all the way across the country. (laughs) The frames got a little beat up out there. They actually brought a lot of framed pieces out to Bonnaroo. That was more or less a representation of the gallery stuff. That was the first show of the year for me. Oh, yeah, yeah, we did have a little show there at a hotel. You also had an exhibition at the Phish comeback shows at Hampton in March. I did bring 2003 posters and stuff that I’ve done while Phish wasn’t playing, so my more recent style is represented in this show. I hate shipping them around everywhere, and having to worry about them. Part of the reason is because they’re so darned expensive. I kept a lot of the 1999s and 2000s out of what I’m showing at Festival 8. I shoved a bunch of art into a box, and shipped it out. I actually picked out the art for this one. Sometimes, I get someone else to pick out the art. I had a gallery opening in the summer, and he curated that. His family, both his parents, has owned galleries in the past, and just opened one last year, and he asked if he could represent me. ![]() It’s actually a collector who has been collecting my stuff for a long time. Recently, I’m represented by a gallery in Miami, 101/Exhibit. Who is selecting the pieces for display at these events? You’ve had some exhibitions of your work in various cities over the past few years. I learn every time I go into the print shop there. Most of them are from the 50s and 60s, and earlier. He teaches me a lot, and shows me things that I can do. It’s great to be in really, really experienced hands in that way. He is a fourth generation Swiss printing family, a huge printer in Chicago for years, and a lot of people When I get a chance I do that, but a lot of the Phish stuff, I go to a printer friend of mine in Chicago who also did the masks, as well, Bruno Rohner and his letterpress. It’s a press that is from the late 1800s, and it allows me to do much better registration. I have that, and I also have a Washington iron handpress. It’s just basically a bookbinding press-very simplistic, and you have to roll the ink on. That might have been one of the first ones I printed on there. It’s a screw-top press, and I printed stuff at the Great Went on that, the Great Went robot poster. I have one printing press that I still have, and I occasionally use. Do you have equipment that you’ve had since the beginning? ![]()
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