Christine Koch
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ACROSS THE SOUND III (BYLOT ISLAND)
I am both painter and printmaker, often working in both media simultaneously, and sometimes within the same project. My recent varied-edition linocuts are hybrid works combining my graphic practice of relief printmaking with my love of paint and colour. In these recent varied editions, I have prepared the paper by gessoing white 100% cotton printmaking paper, back and front, and then further embellishing it with paint in various ways before printing on it. In some of the works (such as Across the Sound III, Variant IV) paint is also applied after printing. Much of my current work plays with variations on the theme of the nocturne. My recent landscape work takes the environments of Gros Morne and the North for its imagery. Gros Morne – Starry Night, featuring the eponymous mountain of the national park where I spend my summers, quotes from Van Gogh. Across the Sound III (Bylot Island), inspired by my visit to north Baffin Island, features the iconic landscape across Eclipse Sound from Pond Inlet, painted famously by Lawren Harris. Christine Koch, 2012
ACROSS THE SOUND III (BYLOT ISLAND)
ACROSS THE SOUND III (BYLOT ISLAND) |
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TESSERAE: STILL LIFE FRAGMENTS XXXI, 2001
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TESSERAE: STILL LIFE FRAGMENTS XXVI, 2001 |
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TESSERAE: STILL LIFE FRAGMENTS VII, 1997
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FRAGMENTS, 1994
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OUTSIDE AND INSIDE, 1994 |
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SOURCE, 1994
BAFFIN RIVER I, 2006
PASTORAL LANDSCAPE VI, BLACK CLOUDS, 1995 |
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ARTIST STATEMENT: These linocut prints are examples from a large ongoing suite of black and white linocuts which date from 1993. These are the source prints from which the Tesserae series derives. Linocut, like woodblock printing, is a relief printmaking technique, the only difference being the medium into which I carve my image (ie., linoleum, as opposed to wood). My subject matter comprises both inside (still lifes) and outside (landscapes), sometimes both within the same print. My interest in black and white linocut lies in its uncompromising graphic directness, and the challenges it presents to the painter in me, whose great pleasure is working in colour. In the absence of colour, in these prints I have had to rely on other visual qualities and formal elements: composition, texture, pattern and the range of marks available to the linocut technique. Christine Koch
TRILOBITE COLLECTION III, 2004
TRILOBITE COLLECTION I, 2004
TRILOBITE COLLECTION I, 2005
TRILOBITE COLLECTION II, 2005
TRILOBITE COLLECTION III, 2005 |
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Christine Koch is a Newfoundland-based painter and printmaker. In the winter she works in St. John's, in a large studio on the top floor of an 1893 harbourfront building. In the summer she can be found in her studio in Woody Point, an enclave community in Gros Morne National Park, with which she fell in love in 1998 when she was invited to be Artist in Residence in the Park. Recently, she has also been traveling and working in the North, as Visiting Artist with scientific research teams in northern Labrador, in Baffin Island, and, this summer, in Kluane National Park in the Yukon. Her current work, in both paint and print media, reflects these experiences. Christine Koch has exhibited widely in Canada, with solo exhibitions in public and private galleries across the country. Her work is represented in major public and corporate Collections within Canada and the USA, and in private collection worldwide. In addition to her studio work, her career has involved academic scholarship, art administration, curating, jurying, critical writing, teaching, and conducting workshops. |
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