Ecology of Printmaking

How to express your relation to the natural world and visualize this encounter in the process of making plates and prints? Oscillate between objective observation and subjective experience and make a translation into printmaking. Do not overthink it but experiment with materials and technique. Inquiry is key. Look into the small and the big aspects of nature and see the intricate web of ecology- how organisms are related. Observe closely; look for patterns, grow molds on your window still, lift stones, take a walk in the forest, listen to the rain. From each encounter, make printing plates intuitive, open and starting from material that you collect. In the process of doing and making you will discover and find your way. All you need is curiosity and stamina. What can curiosity, material and technique generate?

This semester, the Ecology of Printmaking Offcourse was an incredibly relaxing and freeing experience for me. I loved how unpredictable the outcomes were, which added to the satisfaction of watching the process unfold and seeing the final results. I’m especially proud of how much I experimented, pushing myself to explore beyond a single idea and trying out different approaches. Being surrounded by so many people working on the same process was incredibly inspiring. We all started with the same materials, yet the results were completely different in the most magical way. Overall, this class has deepened my appreciation for printmaking and left me eager to keep exploring its possibilities.

— Anca Barbu

This Offcourse was very intriguing and captivating. It offered the freedom to experiment with various approaches, and the guidance I received encouraged me to push my limits and overcome challenges. I am very proud of the results in my prints. In a brief amount of time, I managed to learn a new way of printmaking and chose the aspects that resonated with me. I feel I made these prints my own, mixing and combining techniques that align with my style.

— Jenny Mylonopoulou

"I’ve truly appreciated the environment, the opportunity to work alongside classmates, and the mutual support and inspiration we’ve shared. Being able to seek guidance from you has been invaluable. The overall atmosphere was always positive, and I really enjoyed exploring this new technique and method for expressing textures, movement, and images. Experimenting and learning in this way has been incredibly rewarding."

— Jimena Rojo Rein

View PDF with work by Jimena here

During my Offcourse, I experimented with beeswax and melting it. This was a completely different way of working than I was used to. I really enjoyed alternating my regular classes with a playful Offcourse on Fridays. I find the result interesting, and it is definitely something I can continue working on.

— Thies de Groot

"I learned a lot about different techniques, most importantly how to replicate hard and fragile things like dried flowers on print. It was a trial and error process, but in the end, with your help, I achieved an amazing result that I am very proud of."

— Martin Melnalksnis

(read more after images)

Throughout the Offcourse, I learned to truly embrace experimentation and lean into the unexpected consequences and effects that arise from such an analog process. For instance, while creating my pixelated rendition of the classic horse animation, I aimed for some tension between the digital and physical but was pleasantly surprised by the extra character afforded by the texture, scratches, and so-called imperfections. Another concept this class reinforced was to learn to trust the process: allowing the plate to react freely to my experimentation opened up many new creative possibilities. Overall, I enjoyed the process and am happy with how my prints turned out, each one teaching me something different. I’m excited to continue exploring and pushing the boundaries of this technique and process."

— Emi Paplis

"In this Offcourse, I focused on creating images that capture the atmosphere of the Groningen countryside. Even though it is an imagined landscape, it remains a recognizable image; you can attach your own associations with the countryside to it. During this process, I learned how the size of the etching plates, texture, and the height of the horizon line influence the image, and what works best to make it as compelling and expressive as possible."

— Jenna de Vries

"I really enjoyed how Pol taught us to explore etching in an open and creative way. We started by making a collection of small etching plates, and within this research, I discovered what I wanted to create next. I chose to create abstract (partly layered) prints of nature-inspired textures and structures. Within these textures, I didn’t plan ahead; I let it come to me intuitively and naturally."

— Lean Meijer

During this Offcourse, I wanted to create prints of flowers that had been placed on graves and later discarded in containers at the cemetery. It fascinates me that as soon as flowers begin to wilt, they are no longer welcome on the grave. It was a challenge for me to find a visual language that added a deeper layer rather than simply printing the flowers. My main research question during this period was: "How can I best communicate this story?"

— Melissa Kleine

During my creative process, I looked for ways to translate into images what walking and being present in nature feels like for me. I started by translating different ‘scenes’ that I encounter during my walks into images. After making these prints, I realized that, even though these images depict different locations, in my mind, they had become one: I experience these different worlds as a single world. I tried to visualize this in my final work for the Offcourse, in which I combined the ‘worlds’ from my first prints into one image."

— Roosje Barelds

Participants

Tutor: Pol Taverne

Students: Anca Barbu, Roosje Barelds, Deborah Bertová,  Vlada Chernavina,  Tessa Drenth,  Georgi Dzhenkov,  Thal Fennell Rosen, Daniela Galhardo de Castro Mendes, Thies de Groot,  Yasmin Hasan,   Carlota Joia Oliver,  Luna Jongsma,  Marenne Klaster,  Melissa Kleine,  Sanne Kloosterman,  Charlie Leijen,  Lean Meijer,  Martins Melnalksnis,  Lotus Mous,  Jenny Mylonopoulou,  Nikki Nieuwenkamp,  Amber Niewijk,  Fanni Novotná,  Emi Plapis,  Rosalinde Regterschot,  Elfriede Roest,  Jimena Rojo Rein,  Fleur van Steinvoorn,  Malwina Truszkowska, Joy de Vegt,  Babette Vegter,  Harm de Vlas,  Jenna de Vries.