Mar
5
2019
Kreg Yingst
Initially trained as a painter, I first became interested in relief prints when I discovered the woodcut novels of Lynd Ward and Frans Masereel, as well as other WPA artists, in the mid 90Ès. I was mesmerized by their strong contrasts of light and shadow, black and white, and what they were able to communicate graphically. I quickly delved into the work of the German Expressionists and Mexican Socialists, and perhaps have been influenced in some way by all.My blockprints are carved out of wood or linoleum – a compression of cork, wood pulp, and linseed oil. I print each block on an obsolete Showcard sign press, and the larger prints I burnish by hand. The choice of paper and cutting style are important in trying to create the correct feel for the subject matter.My ideas are a result of my interests in narrative; story, poetry, lyric, and personal experience.Music Series: The narrative aspect of lyrics was a natural progression for me in developing artistic ideas. The blues legend, Robert Johnson, became an early study in Faustian narrative myth, while many other musicians had their own unique stories to tell. From there, it was simply the beginning of a series, or cycle of prints. IÈve worked in this method for the past 20 years as it allows me the opportunity to fully exhaust my ideas and flesh out the subject matter. I enjoy researching the history of the blues, country, jazz, and Americana, while the rock series is deeply imbedded in personal experience.It was with purpose I created my small images the same size as a CD cover, the mat similar in size to a 45 record, and the medium size prints scaled to resemble old music posters. The print bin creates the same recollection of browsing through albums in a record store. ItÈs been my intention to foster a nostalgia or retro experience, while still making the art uniquely my own.Method:1) I begin each idea for a blockprint with a small thumbnail sketch. A final draft is then drawn to scale and transferred to the block. The drawing on the block is in reverse as the eventual print will be the mirror image.2) After the drawing is transferred, the wood or linoleum is carved using several V and U shaped gouges. There are a number of strategies when trying to break down an image into just black and white, but in the end, whatever is cut away will be white while the surface of the block will print black (or another color of choice).3) Once the block is carved, the surface is inked, a paper is chosen, and then both are hand-cranked through the press. The blocks that are too large for the press are burnished on the back using a large wooden spoon.4) Each multi-colored print has an individual block carved for every color. The print must align with the previous image and be pulled through the press multiple times. In addition, some of the prints are individually painted using watercolors.5) The final print is then signed and numbered in a limited edition.
