Subsequently, I produced many more medium-size color woodcuts, generally vertical images 24 inches wide by 37 inches high, all hand-printed from multiple plates on kozo washi ( wa meaning Japanese and shi meaning paper).Įndi Poskovic, Red Table, color woodblock print from 3 blocks on Mulberry-washi. My second woodcut was a somewhat larger, nine-inches by nine-inches, an image of a table placed against a field of green arrows, pulled in two separate editions in red and blue respectively. My two-inch by two-inch print of a three-legged chair, overprinted with red dots from a pencil-end eraser, was an awkward beginning at relief. For someone who produced large, photo-based intaglio etchings for in-situ presentations and wall-size plate-lithography combines, this was a radical shift. By the time I moved to Los Angeles in 1997, I was completely immersed in reinventing this populist print medium in the context of my graphic work. On the recommendation of an artist friend who suggested traditional hand-cut and hand-printed relief, I began to make woodblock prints. In all honesty, after eleven academic years of formal training in print media, I didn't know how to make prints without proper equipment. While in Indiana, I had no access to a printmaking studio and found myself frustrated by my inability to step outside of established norms of printmaking and its reliance on printmaking shops and equipment. Then, in 1995, I moved to Muncie, Indiana, and taught at Ball State University for two years. ![]() I rarely explored traditional relief and block printing and had only printed by hand in my early art school days. ![]() For many years, it was my primary method of making prints. Produced at the Kala Institute, Berkeley, CA.Īs many print artists do, I too produce my prints on etching and lithographic presses utilizing a variety of established and new printmaking processes. Color woodblock print from 4 blocks on Kozo Okawara washi. Endi Poskovic, Sunny Day Over the Bay in Orange, Red and Deep Blue 2002.
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