Percorsi d’autore ▹ invito della mostra di incisioni e picttura

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▹ ” Percorsi d’autore – della Grande Mela all’Alto Monferrato ▹ invito della mia mostra di incisioni e picttura  ” ▹ venerdi 30 settembre, sabato 1 e dominca 2 ottobre 2016, dalla ore 10 alle 19 ▹ Loggia di San Sebastiano – 16 Vico San Giovanni Citta’ di Ovada, (A.L), Italia.

spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra

 ▹ “Paths of an Author – from the Big Apple to the Alto Monferrato” ▹ invitation to my exhibition of engravings and paintings ▹ Friday September 30, Saturday 1 and Sunday 2 October 2016, from 10 am to 7 pm ▹ Loggia di San Sebastiano – 16, Vico San Giovanni – Citta’ di Ovada, (A.L), Italy.

▹ “Parcours d ‘auteur  – de la Grande Pomme à l’Alto Monferrato “▹ Invitation  à mon exposition de gravures et de peintures ▹ Vendredi 30 Septembre,  samedi 1 et dimanche 2 Octobre 2016, de 10 h à 19 ▹ Loggia di San Sebastiano – 16 Vico San Giovanni Citta’ di Ovada, (A.L), Italie.

diptych from two floor boards
diptych from two floor boards

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diptych from two floor boards
diptych from two floor boards

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diptych from two floor boards
diptych from two floor boards

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 ▹ City or Nature?

During WW2, Francis, an American officer send to war in Europe arrived in England. His Chauffeur, a black man from the Bronx, New York – [who never stepped out from it] – was driving the Jeep. This man, for the first time in his life experiencing the country site identified a large brown animal in a field. He asked Francis “Sir, what is this?” – “a cow” replied Francis – “you mean a moo moo, Sir?”

It took the circumstances of a terrifying war for a man to be force out of his ‘normal’ urban habitat to confront the unknown of the ‘country side’. It happen during the 1940’s, even so this story could seem odd to some, perhaps belonging to the generation of their grandparents or grand-grandparents, however it illustrates how, already long ago, people from the city could have been disconnected from basic elements of nature’s life.

Now a days, believing that access to internet could solve the problem and shorten the ‘gap’ of knowing better of each other world is a blur. Because, nothing can replace being on site experimenting situations.

Not wishing to borrow the language of a scientist, a journalist, an academic or a lawyer, with such a motto as “the proof, but nothing but the proof “, but simply presenting my ‘experiencing’ from my own observation through the medium of an art work. Seeing with my own eyes, putting my own senses at work we the hope to trigger a ‘response’, what better ‘understanding’ and sharing one can get from ‘being alive’? [You maybe tag it, right or wrong, it hardly matters, its your experience with your own senses and your own way of expressing it that counts.] This is, in many ways, what it takes being committed as an artist.

What ever in a situation of populated biggest cities or in the most remote wildness or country side, I ask my feet to transport me, my shoulders to hold my backpack, my fears to let me move forward …so I could reach any ‘site’ that will allow me to start a ‘conversation’ with what confronts me – dedicated not to return home without carrying back the ‘feelings’ from my ‘visit’ … ‘visitor’, always, as I dismay ‘tourist’!

My exhibitions intend to share this moments with others, what I have ‘came out’ with from my ‘site’ visits. But beyond the ’emotion’ remains the impact, how it has transformed me ? Having cross the Andes, over 45 y ago, still resonates in me and shapes my today behavior … and what to make of lacking oxygen at several 1000 feet high or at level zero in the center of Manhattan? Like if live was an ongoing struggle between a surplus or a lacking – one being always the negative [in the ‘picture’] of the other, and by so doing creating the ‘image’ of our lives.

City versus Nature, shifting opposites poles, I let the viewer free of making choice of which from the two world he/she wish to belong to…When ever in the city or in the country side.rvwcnyc16wb-eiffeleff44

▹ Ville ou Nature?

Pendant la deuxième guerre mondiale, Francis, un officier américain est envoyé en Europe et arrive en Angleterre. Son chauffeur, un homme noir du Bronx, New York – [qu’il n’a jaimais quitté] – conduit la Jeep. Cet homme, pour la première fois de sa vie ce trouvant à la campagne et identifie un gros animal brun dans un champ. Il demande à Francis «Monsieur, qu’est-ce?” – «une vache», répondit Francis – “vous voulez dire une ‘meu-meu’, Monsieur?”

Il a fallu les circonstances d’une guerre terrible pour qu’un homme forcé hors de la normalité de son habitat urbain fasse face à l’inconnu de la «campagne». Cela ce situe durant les années 1940, cette histoire peut sembler étrange à certains, appartenant sans doute à la génération de leurs grand-parents ou arrière grand-parents, cependant cela illustre combien ce n’est pas un phénomène nouveau pour des gens de la ville d’être   déconnectés d’éléments de base lies à la vie nature.

De nos jours, croire que l’accès à Internet peut résoudre ce problème ou réduire l’«écart» et aider à mieux connaître chaqu’un de ces deux mondes est un mirage. Car, rien ne peut remplacer le fait de se trouver sur place et “de le vivre.”

Je ne désire pas emprunter le langage d’un scientifique, journaliste, universitaire ou  avocat, avec pour slogan, «la preuve, et rien d’autre que la preuve”, mais simplement présenter l’ «expérience» de ma propre observation par l’intermédiaire de mon travail. En voyant de mes propres yeux, en activant mes propres sens, dans l’espoir de trouver une «réponse». Quel meilleur «enseignement » et partage peut on souhaiter du fait d’ «être en vie»? [Vous pouvez ou ne pas être d’accord, bien ou mal, peu importe, à mes yeux, c’est expérience de ses propres sens et sa propre façon de l’exprimer qui compte.] Ceci est (ou fut), à bien des égards, ce qu’il est requis pour demeurer un artiste entant que tel.

Que je sois dans le contexte des plus grandes villes surpeuplées ou dans un lieu sauvage ou une campagne isolée, je demande à mes pieds me transporter, à mes épaules de soutenir mon sac à dos, à mes craintes de me laisser aller de l’avant … afin que je puisse parvenir à un «site» me permettrant de commencer une «conversation» avec “le” monde qui me confronte – dédier à ne pas rentrer chez moi bredouille, sans rapporter de nouveaux «sentiments» de ma «visite» … «visiteur», toujours, «touriste» hors de question!

Mes expositions se voudraient de partager ces moments avec autres, ce qu’il en est “sorti” de mes visites de «lieux ». Mais au-delà de l’ «émotion» reste l’impact, la façon dont cela m’a transformé? Ayant traversé les Andes, il y a plus de 45 ans, résonne encore en moi et façonne mon comportement aujourd’hui … et que penser du manquer d’oxygène à plusieurs mille pieds de haut ou au niveau zéro dans le centre de Manhattan? Comme si la vie était une lutte permanente entre un surplus ou un manque – l’un étant toujours le négatif [comme dans une «gravure»] de l’autre, et ce faisant la création de «l’image» de nos vies.

Ville ou Nature? Mouvements de pôles contraires, je laisse le spectateur libre de faire son choix auquel des deux mondes il ou elle souhaite appartenir …

▿▿▿

riciclare – recycling

I make a stand working always on site – hardly from studies and never from documents – I engraved-direct right on the spot.

When in the city, where all kinds of unwanted materials resulting from over consumerism are available, left on the streets. I recycled and experiment on whatever material may have a chance being engraved and printed.

Recycling, if not giving an aesthetic solution to the process, may at least give it more ‘authenticity’. Therefore, ‘cutting’ does not induce to more material consumption but rather give a true transformation to it.

What is given for ‘trash’ gets a second chance of ‘use’. The most hugely panels from the most inconceivable cheapest furniture may very well change into an image of the city, the same city rejecting it.

Beside, from a creative point of view, there is no such a thing of having fear messing up a material barely save from destruction to start with…it gives the unique opportunity to express oneself with the greatest confidence and freedom.
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 recyclage

Je donne la priorité à travailler sur le motif  – très rarement à partir d’études et encore moins de documents – je procède par graver directement sur place. Lorsque je me trouve dans la rue, en ville, où toutes sortes de matériau indésirables résultant de surconsommation sont disponibles, je recycle et expérimente sur tout ce qui peut offrir une possibilité  d’être gravé et imprimé.

Le recyclage, si il n’arrive pas toujours nécessairement à donner répondre esthétique du processus,  peut au moins offrir plus d’«authenticité». Par conséquent, «graver» ne stimule plus la consommation de nouveaux matiériau, mais plutôt permet une véritable transformation ce ceux classés inutiles.

Ce qui est destiné à être jeté à la ‘poubelle’ obtient ainsi une seconde chance de «vie». Les panneaux les plus abominables venant de meubles ‘bon marché’ les plus inconcevables peuvent très bien se transforme en gravures représentant la ville, la même ville qui les rejéte.

De plus, d’un point de vue créatif, il n’y a plus de raison d’avoir peur de gâcher un matériau tout juste sauver de la destruction d’un camion poubelle … cela donne l’occasion unique de s’exprimer avec la plus grande confiance et liberté…car il n’y a rien à ‘perdre’ ! Et n’avoir rien à perdre, c’est plutôt bien pour l’art et l’artiste contemporain constamment sous la brèche.

▿▿▿

spazio prima della mostra
spazio prima della mostra

“La Loggia è Ovada …e Ovada è la Loggia

L’antica parrocchiale di Santa Maria, oggi Loggia di San Sebastiano, fu eretta nel Xii secolo in forme romaniche a capanna con una sola navata. L’edificio, nominato del 1277 stipulo tra il Comune di Genova ed i fratelli Spinola, fu ampliato nel XIV secolo con l’aggiunta delle navate laterali e del campanile…

spazio prima della mostra
spazio prima della mostra

The Loggia is Ovada…Ovada is the Loggia

The ancient church of Santa Maria, nowadays Loggia of San Sebastiano, was raised in the XII century in romanesque style a capanna with a unique nave. The building, mentioned for the first time in a purchase agreement of 1227 between Genova Municipality and Spinola brothers, was enlarged in the Xiv century with the addition of the sited naves and the bell tower…”

Desidero ringraziare il Comune, il Proloco e il Centro Info di la Citta’ di Ovada per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa.

I want to thank the Commune, the Proloco and the Center Info of the City of Ovada [Italia] for hosting my exhibition and for its friendship collaboration with its organization.

Je remercie la Commune de Ovada, Le Proloco et le Centre Info de la ville d’Ovada [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration.

Per saperne di più ( more to read …à lire…)

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

Mostra di incisioni – Lerma Italia 2016

▹ Presentazione della mia mostra di incisioni ▹ New York – Ponti nel tempo ▹ 20 e 21 agosto 2016, Lerma, (A.L), Italia.

carta della mostra
carta della mostra ( poster of my exhibition reinforced with strong pins to resist the weather )

▹ Presentation of my exhibition of woodcuts ▹ “New York – Bridges in the Time” – ▹ August 20 & 21, 2016. ▹ Lerma, (A.L), Italy.

▹ Pésentation de mon exposition de gravures sur bois ▹ “New York – Ponts dans le temps “▹ 20 et 21 aout 2016, Lerma, (A.L), Italie.

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The James Bond Girl
The James Bond Girl
Miraluna
Miraluna
artiste Ezio Minetti e Carlo
artiste Ezio Minetti e Carlo
Professore e incisore Pio Carlo Barola
Professore e incisore Pio Carlo Barola
incisore, illustratrice e autrice Valentina Billeta
incisore, illustratrice e autrice Valentina Billeta

Exhibiting on Summer time, in a natural environment, a work created in winter in one of the most highly dense urban context, could seem truly off. I will not argue if only for the very fact that my “cuts & prints” live of their highest possible contrast: dense black patterns versa solid white one.

Exposer en été, dans un environnement naturel, une œuvre créée en hiver dans l’un des plus dense contexte urbain, pourrait sembler vraiment tiré par les cheveux. Je ne le disputerai pas si ce n’est pour le fait que mes “gravures et impressions” ne vivaient pas, pour commencer, grâce au fait de leur contraste extrêmes : des noirs denses sur l’aplat d’une feuille blanche.

rvwcnyc16-wbeiffeleffect1Some people say that Nature was created by God and the cities by men [ end women of course…]. Now, it would be interesting to figure out, on doing so, how much men/women have ” borrowed and steal ” from nature ? Just to be able to claim their independence from it!

Certaines personnes disent que la Nature à été créé par Dieu et les villes par les ‘hommes’ [les femmes, il en va de soit …]. Maintenant, il serait intéressant de comprendre, à ce propos, combien d’hommes et femmes ont “puisé, emprunté et pillé” la nature, pour être en mesure de clamer leur indépendance par rapport à celle-ci?

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In our cities, nothing new witnessing “advertising” constantly selling the virtues of Nature [ called even Mother Nature ]. Seductively packaging its name in order to trick us in consuming more … while misleading its own nature [ so to speak].
Besides allowing us to go across, what amounts to an amazing size of nature, [such as big rivers], bridges, constructions between water and sky linking two pieces of land, use graceful curved lines. A must in order to achieve their function, while buildings all around remain confine by the main use of straight lines. In nature, there is not such a thing as a straight line, if not from some split rocks, this is why I do not feel odd presenting bridges curves in a natural environment. Possible path for establishing a “bridge” allowing city and nature to become reconcilable?

Dans nos villes, outre le fait de nous permet d’aller de l’autre côté, [ce qui équivaut à une portion considérable de  nature telles les grandes rivières], les ponts, constructions entre l’eau et le ciel reliant deux morceaux de terre, utilisent des lignes courbes gracieuses. Une nécessite pour qu’ils puissent répondre à leur fonction, tandis que les bâtiments tout autour se confinent invariablement à l’utilisation principale de lignes droites. Dans la nature, la ligne droite est pratiquement absente, si ce n’est pour quelques roches fendues. Ce pourquoi je ne me trouve pas étrange en présentant des courbes de ponts dans un environnement naturel. Possible route pour établir un «pont» permettant ville et nature à devenir conciliables?

Williamsburg Bridge - woodcut on site.
Williamsburg Bridge – woodcut on site.

I make a stand working always on site – hardly from studies and never from documents – I engraved-direct right on the spot.

Je donne la priorité à travailler sur le motif  – très rarement à partir d’études et encore moins de documents – je procède par graver directement sur place.

diptych from two floor boards
diptych from two floor boards

When in the city, where all kinds of unwanted materials resulting from over consumerism are available and left on the streets, I recycled and experiment on whatever material may have a chance being engraved and printed.

Lorsque je me trouve dans la rue, en ville, où toutes sortes de matériau indésirables résultant de surconsommation sont disponibles, je recycle et expérimente sur tout ce qui peut offrir une possibilité  d’être gravé et imprimé.

diptych from two floor boards
diptych from two floor boards

Recycling, if not giving an aesthetic solution to the process, may at least give it more ‘authenticity’. Therefore, ‘cutting’ does not induce to more material consumption but rather give a true transformation to it.

Le recyclage, si il n’arrive pas toujours nécessairement à donner répondre esthétique du processus,  peut au moins offrir plus d’«authenticité». Par conséquent, «graver» ne stimule plus la consommation de nouveaux matiériau, mais plutôt permet une véritable transformation ce ceux classés inutiles..

diptych from two floor boards
diptych from two floor boards

What is given for ‘trash’ gets a second chance of ‘use’. The most hugely panels from the most inconceivable cheapest furniture may very well change into an image of the city, the same city rejecting it .

Ce qui est destiné à être jeté à la ‘poubelle’ obtient ainsi une seconde chance de «vie». Les panneaux les plus abominables venant de meubles ‘bon marché’ les plus inconcevables peuvent très bien se transforme en gravures représentant la ville, la même ville qui les rejette.

rvwcnyc16wb-eiffeleff44Beside, from a creative point of view, there is no such a thing of having fear messing up a material barely save from destruction to start with…it gives the unique opportunity to express oneself with the greatest confidence and freedom.…because there is nothing to ‘lose’! And have nothing to lose, that’s pretty good for the art and the contemporary artist constantly in the breach.

De plus, d’un point de vue créatif, il n’y a plus de raison d’avoir peur de gâcher un matériau tout juste sauver de la destruction d’un camion poubelle … cela donne l’occasion unique de s’exprimer avec la plus grande confiance et liberté…car il n’y a rien à ‘perdre’ ! Et n’avoir rien à perdre, c’est plutôt bien pour l’art et l’artiste contemporain constamment sous la brèche.

Italia – Tuesday August 30, 2016 / Mardi 30 août 2016

▹ LA STAMPA – intervista  ▹ 19 agosto 2016, Italia.

Per saperne di più ( more to read …à lire…}
Per saperne di più ( more to read …à lire…)

Desidero ringraziare il Comune di Lerma per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa.

I want to thank the commune of Lerma [Italia] for hosting my exhibition and for its friendship collaboration with its organization.

Je remercie la commune de Lerma [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration.

LaStampa.it-DanielePrato16ty

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2016

LA STAMPA – intervista – interview

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 INTERVISTA – [interview] di Daniele Prato   La STAMPA

“Crea ponti tra il suo passato e il suo futuro, come quelli che uniscono Manhattan ai suoi sobborghi, il caos della città ai valori della campagna, che Raymond ha trasferito nel corso dell’inverno su decine di incisioni. “

▹ pubblicata 19 agosto prima la mostra – sabato 20 + domenica 21 agosto 2016 ▹ LERMA, (A.L), Italia.

published August 19 before the exhibition – August, Saturday 20 & Sunday 21, 2016. ▹ LERMA, (A.L), Italy.

publié le 19 aout, avant l’exposition du samedi 20 et dimanche 21 aout 2016.▹ LERMA, (A.L), Italie.

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

Italy – Nature’s Violence Repeats Itself

▹ If men don’t drop us bombs from above, nature explodes from underneath

Devastating tsunami in Italy in 1908
Devastating tsunami in Italy in 1908

▹  The terremoto [ earthquake ] that has just been devastating Amatrice make us feel like we are not able to escape from the same destructive patterns experienced in the past – what ever we creating them or nature is undertaking them  –  [as we are part of nature, we may as well conveniently blame nature solely.] Still, regardless who takes the blame it amounts to the same destruction, death and tears…feeling endlessly powerless, being trapped or witnessing it.

In Dec. 27, 2008 The New York Times commissioned me to illustrate a story of a “natural” disaster that took place in the South of Italy in 1908.

103 year ago – tsunami 1908

RVrlogo2

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

 

Intervista ▹ Interview ▹ Daniele Prato del giornale della STAMPA

▹ L’intervista serà pubblicata domani 19 agosto 2016 ▹ The interview will be published tomorrow Friday August 19, 2016 ▹ L’interview sera publié demain vendredi 19 aout 2016 ▹

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▹ Mostra sabato 20 + domenica 21 agosto 2016, dalla ore 10:30 alle 19 ▹ Centro Polifunzionale, Piazza Genova, LERMA, (A.L), Italia.

▹ Exhibition “New York – Bridges in the Time” – INVITATION ▹ exhibition of wood + wood-based engravings – August, Saturday 20 & Sunday 21, 2016. ▹ Centro Polifunzionale, Piazza Genova, LERMA, (A.L), Italy.

▹ Exposition “New York – Ponts dans le temps “, INVITATION ▹ exposition de gravures sur bois + a base de bois – Samedi 20 et dimanche 21 aout 2016.▹ Centro Polifunzionale, Piazza Genova, LERMA, (A.L), Italie.

Desidero ringraziare il Comune di Lerma per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa.

I want to thank the commune of Lerma [Italia] for hosting my exhibition and for its friendship collaboration with its organization.

Je remercie la commune de Lerma [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration.

Per saperne di più

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

New York – Ponti nel tempo ▹ invito della mostra di incisioni

carta invito - invitation poster
carta invito – invitation poster

▹ sabato 20 + domenica 21 agosto 2016, dalla ore 10:30 alle 19 ▹ Centro Polifunzionale, Piazza Genova, LERMA, (A.L), Italia.

▹ “New York – Bridges in the Time” – INVITATION ▹ exhibition of wood + wood-based engravings – August, Saturday 20 & Sunday 21, 2016. ▹ Centro Polifunzionale, Piazza Genova, LERMA, (A.L), Italy.

▹ “New York – Ponts dans le temps “, INVITATION ▹ exposition de gravures sur bois + a base de bois – Samedi 20 et dimanche 21 aout 2016.▹ Centro Polifunzionale, Piazza Genova, LERMA, (A.L), Italie.

cornici ▹ cadres ▹ frames

rvwit16lerma-mostra-ponti03 rvwit16lerma-mostra-ponti04 rvwit16lerma-mostra-ponti05 rvwit16lerma-mostra-ponti06 rvwit16lerma-mostra-ponti07 rvwit16lerma-mostraponti10 rvwit16lerma-mostraponti12 rvwit16lerma-mostraponti13 rvwit16lerma-mostraponti14 rvwit16lerma-mostraponti16 rvwit16lerma-mostraponti18 rvwit16lerma-mostraponti19 rvwit16lerma-mostraponti20 rvwit16lerma-mostraponti26 rvwit16lerma-mostraponti21 rvwit16lerma-mostraponti34 rvwit16lerma-mostraponti24 rvwit16lerma-mostraponti25 rvwit16lerma-mostraponti29 rvwit16lerma-mostraponti23 rvwit16lerma-mostraponti22 rvwit16lerma-mostraponti31 rvwit16lerma-mostraponti33 rvwit16lerma-mostraponti35rvwit16lerma-mostraponti32

Desidero ringraziare il Comune di Lerma per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa.

I want to thank the commune of Lerma [Italia] for hosting my exhibition and for its friendship collaboration with its organization.

Je remercie la commune de Lerma [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration.

Per saperne di più

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

Printing Day Like Laundry Day

 Printing in Progress (technicaly called proofing)rvwcnyc16mb-printday28 rvwcnyc16mb-printday29 rvwcnyc16mb-printday30 rvwcnyc16mb-printday31 rvwcnyc16mb-printday32 rvwcnyc16mb-printday35 rvwcnyc16mb-printday36 rvwcnyc16mb-printday37 rvwcnyc16mb-printday38 rvwcnyc16mb-printday39 rvwcnyc16mb-printday40 rvwcnyc16mb-printday41 rvwcnyc16wb-printday43 rvwcnyc16wb-printday44 rvwcnyc16wb-printday45 rvwcnyc16wb-printday47 rvwcnyc16wb-printday48 rvwcnyc16wb-printday49 rvwcnyc16wb-printday51 rvwcnyc16wb-printday52 rvwcnyc16wb-printday53 rvwcnyc16wb-printday54 rvwcnyc16wb-printday55 rvwcnyc16wb-printday56 rvwcnyc16wb-printday58 rvwcnyc16wb-printday59 rvwcnyc16wb-printday61 rvwcnyc16wb-printday62 rvwcnyc16wb-printday65 rvwcnyc16wb-printday66 rvwcnyc16wb-printday67 rvwcnyc16wb-printday68 rvwcnyc16wb-printday69 rvwcnyc16wb-printday70 rvwcnyc16wb-rollincurve“Translating” or transfering my New York City outdoor and on site engraved blocks of bridges inspiration into “printed” images on paper. 

I associate it very much to a hand laundry day, because it is physically a hard work to test over 50 blocks pieces at once. More so the paper is drying on a line. There is no such thing as short cuts as far as printing is concern, it remains a ‘messy’ process.

At the end of a long working day, when you are dropping with energy, comes the revengeful cleaning of the tools and material as a due for “playing”.  I have not met a printmaker that enjoy the anoying but necessary last phase … if you let you ink dry it would become a major disaster .

Printing is not a “disposable” process. And nothing will be completed before you have visit your washing sink and …your bathtub. This is the reason why I associate printing as doing laundry!

 

original[e] linocut ▫ woodcut ▫ gravure sur bois ▫ linogravure ▫ grabado ▫ incisione ▫ Copyright © Raymond Verdaguer 2016


Art Donation To A New York’ s School

Auction Fundraising Spring Party To Benefit The Earth School  Silent & Live Auction.  Saturday, May 7, 2016 ( 6pm -10 pm) at St. Nicolas Church, 157 Ave A  ( corner of 10th st) New York, NY – Ticket:  $25 Advance / $30 Door .

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I  engraved this wood board, randering of the Manhattan and the Brooklyn Bridges son site ( oddly enough behind  metal mesh fence). Located on the walking platform on top of the Williamsburgs Bridge. Later on printed on my studio.

original linoleum cut > linogravure originale > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2016

May Day – In Memory of My Father

I have many memorable stories of May Days while growing as a kid in Europe. It is a day still celebrated all over the world, except in The States and in Canada. Oddly enough its origin are relate to a tragic event that precisely took place in The States. As a consequence was established the right to work 8 hours a day, instead of an unlimited amount … I felt it was appropriate to present a detail of one of my linocut to honor my father, a man who worked endlessly and hard during his life time – so I could have the privilege of creating ‘images’ …

This picture is detail from of a series of 8 linocuts illustrations commissioned & published Nov. 2008 by Harper’s Magazine. New York > Untitled: “How To Save Capitalism” 

original linoleum cut > linogravure originale > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2014

Remembering Chernobyl 30 Years Ago

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My Illustration On Nuclear Catastrophe As A Tribute. 

Commissioned  by The New York Times on the nuclear topic.  Published almost 10 Years Ago, Wednesday, August 3, 2005, in the Op-Ed page.

 Ricky Businesses – Nuclear Hubris in Idaho  By William Broyles Jr. ” Wilson, Wyo. – WHEN Al Reinert and I wrote the line, “Failure is not an option,” for the movie “Apollo 13,” we intended it to represent the essence of America’s can-do spirit. That spirit put men on the moon, perhaps the most extraordinary collective accomplishment in human history. Then came the Challenger disaster, a reminder that not every problem can be solved; that it’s not what you expect to fail that most often causes disasters, but what you expect not to fail. ” more to read

William Broyles Jr. is a former editor in chief of Newsweek and Texas Monthly.

*Linocut illustration commissioned by New York Times’ Op-Ed Art Director Brian Rea

original linoleum cut > linogravure originale > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2014

Earth Day 10 years ago – Published Linocut

 Commissioned By The New York Times, Op-Ed page, on Earth Day  April 20, 2006.

“Not Out of The Wood Yet” By Don Melnick and Mary Pearl.

” The people most vulnerable to the disappearance of forests are the poor: nearly three-quarters of the 1.2 billion people defined as extremely poor live in rural areas, where they rely most directly on forests for food, fuel, fiber and building materials. But those of us in the developed world are hardly immune. Smaller forests mean fewer predators keeping insects and rodents in check in the Northeastern United States, a phenomenon linked to the spread of Lyme disease and West Nile virus, among others.

Everywhere, forests prevent erosion, filter and regulate the flow of fresh water, protect coral reefs and fisheries and harbor animals that pollinate, control pests and buffer disease. That is why the single most important action we can take to protect lives and livelihoods worldwide is to protect forests. And one of the best ways to do that is to change how we think about their economics. Sustainable forests, in turn, can form the basis for the health and economic well-being of the poorest among us, while benefiting everyone else as well. What could be a more satisfying vision for Earth Day 2006? ” more to read

Don Melnick is a professor of conservation biology at Columbia University. Mary Pearl is president of Wildlife Trust. [ “Presently Mary Pearl, an internationally known and respected conservationist, is Dean and Vice President of Stony Brook Southampton. For the previous 15 years, she was President of Wildlife Trust.”]

“Not Out of the Woods Yet” linoleum cut, 2nd publication: Le Courrier International magazine  (No 992)November 2009, Paris. Titled “Alerte au trafic d’ebene et de palissandre”

original linoleum cut > linogravure originale > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2014

Studio Visit – An Interview By Thomas Deshays

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original[e] linocut ▫ woodcut ▫ gravure sur bois ▫ linogravure ▫ grabado ▫ incisione ▫ Copyright © Raymond Verdaguer 2016