| Artist Detail |
Jester Calls Meeting
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Shawn Demarest
www.shawndemarest.com
Art Background – In addition to coursework at the Univ. of Colorado (BFA Studio Art and BA Mathematics), I spent two semesters studying art in Lacoste, France. Ron Shaefer was the printmaking instructor and introduced me to etching. Later, I worked under Frank Sampson at the Univ. of Colorado. After graduating, I moved to Taos New Mexico where I painted plein air landscapes and still lifes. During this time I attended workshops with Rod Goebel and David Barbero. Feeling drawn to the vernacular architecture of New Mexico, I put down my brush and studied architecture for the next 5 years. After a hiatus of more than a few years, I’ve recently returned to printmaking and painting. Currently, I am a very active member of Bite Studio and continue to paint when time allows.
Printmaking Statement - From my first etching to the present day, I begin a plate not knowing what it will be. My process begins with a traditional hard ground. I draw into the hard ground as if I was sketching or doodling on paper. Figures appear, places arise and I try to listen. After I bite the initial sketch, I pull a print. I sketch on this print, often figures change, and dimension or patterns are added. Often I will again draw into a hard ground to further define the scene. Once my figures are clear, I generally open bite around them. This creates a sort of relief, and dark lines around the figures. I continue to draw and shade with pencil, pen, or watercolor on the proof prints – and then I use whichever intaglio method will get me what I’m looking for. Open bite, aquatint, spit-bite, hatching, and dry-point are most commonly used. My etchings tend to be a bit rough. The initial loose sketch often shows through (which I like) and areas of shading will often be imperfect. When my etchings create feelings of liveliness, curiosity or surprise I’m content.
Personal Statement – I am moved by both the human condition and the world around me. More specifically, the characters and interactions that appear in my etchings certainly arrive from the strangeness of being human – and the funny interactions and lessons I experience. The other strong motivating force is my love of Portland, creative people, and the urban landscape. Ultimately, my intent is to approach my work without preconception.
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