Lithography, Woodcut, Monotype
Bedrock recently welcomed Asad Faulwell for the creation of his first lithograph "Djamila," a stunning variable edition of 14, with collage, painted map tacks, and gold pins. This noteworthy edition is available for $4,000. Please contact Aaron Shipps at bedrockarteditions@gmail.com for details concerning the reservation of an impression.
Artist’s Statement: — Andrzej Zielinski, 2018
“Djamila,” Asad Faulwell’s first lithograph, depicts Djamila Bouhired, one of the female combatants who took part in The Battle of Algiers. Djamila, like her comrades, carried out attacks against the colonial French population in Algiers. This piece attempts to show how these women were both aggressors and victims, victimized both by their French adversaries and ostracized by Algerian society. The image was rendered using traditional lithographic techniques taken to an extreme fruition, afterwards finished with hand applied embellishments.
The Magical City series, a vibrant array of woodcuts printed on wood veneer, is based on recurring dreams that arrive in the mind of Zigmunds Priede. Each magical city is a composite of many different locations in the world, arriving just at the distance of the artist’s imagination, in between his native Latvia and the United States. As is the case for many who find themselves living abroad from their native lands, home is no longer the place that has been left behind, nor is it the place one now lives. For Zigmunds, this beautiful series of work is his attempt to deal with these notions of home, using cities as an emotive expression, rendered in many different color relationships.
2018 Cy Twombly Award winning poet and essayist Anne Boyer joins with artist Andrzej Zielinski to collaborate towards the creation of a box set of poetry conjoined with original art. Based on the concept of 13 substances as 13 poems/artworks, this project proves to illuminate the uniquely fierce and anti-categorical mind and words of Anne with the materially based work of Andrzej.
Cuban artist Alexandre Arrechea, co-founder of the artists collective “Los Carpinteros,” interdisciplinary work reveals a profound interest in the exploration of both public and domestic spaces. His earlier works explore common themes of surveillance in contemporary society, the loss of privacy, and sources of power, though more recent works deal with contemporary social and economic issues like the stock market and migrants in Latin America. His experiential installations like The Garden of Mistrust (2003-5) and Perpetual Free Entrance (2006) in particular deal with issues of accessibility and the qualities of public and private space. His practice includes installation, painting, and the use of what he considers are objects with “elements of truth.”
Based in Los Angeles, Gladstone produces figurative paintings that evoke dream-like spaces, free from logic that pertains to traditional representation. He uses allegory and metaphor to examine a wide swath of cultural references from contemporary politics, art history, and personal experience, allowing psychological mood to govern the narratives over concrete reality. With a bright, often candy-colored palette layered with transparent mediums that subtly reveal the forms beneath, his works immediately seduce the viewer and only later reveal psychologically charged subtexts.
Born in a small town on the Flathead Reservation on the Confederated Salish and Kootenai Indian Reservation, Montana, Jaune Quick–to–See Smith is an internationally renowned painter, printmaker and artist
Smith has been creating complicated abstract paintings and litographs since the 1970s, employing a wide variety of media, working in painting, printmaking and richly textured mixed media pieces. Smith is known internationally for her philosophically centered work regarding her strong traditional beliefs and political activism.
Kabel’s work gravitates towards uncomfortable subjects, using art as a tool for clarity by asking questions that may have many answers but only one truth. How do we encounter suffering with compassion, propagate grace, open ourselves to a relationship with death, and recognize the nature of power? Each inquiry rings like a bell that was a cup until it was struck. Kabel’s work reminds us that it is easy to be unconscious through most of our lives but that unconsciousness leaves us unprepared for the inevitable times when our better natures must be called upon.
