What is it that compels us to pull a print ? To create a matrix and use it to mark a surface, once and again ?
We leave imprints on people, we leave imprints on the earth; we leave traces of our presence wherever we move around physically. Printmaking is possibly an analogy of living. It is a re-enactment of our mark-making either physically, emotionally or energetically, in our daily lives as humans.
Printmaking requires depth, levity, scientific reactions, constancy, variables, randomness and control. It mimics love, war and peace in its process. An acid bite is a violent action, an incision is a rupture of serenity, a delicate line of ink rising from this incision is simply glorious.
Perhaps pulling a print allows us to connect with our life imprint, perhaps it brings us closer to understanding the contradictions of living.
Kristin DeGeorge is a multidiscipline artist whose work is firmly rooted in printmaking.
Her current production, both installation and 2-D, is charged with the suggestion of metal and barbed wire, motifs that carry symbolisms of limits and borders, migrations, warriors and war. They speak of mythological, historical and current contexts. The juxtaposition of the violent, rusted and rough-hewn and transparency, delicateness, lacework, pattern and filmy layering are motivational threads running through much of her work.
Living and working between France, Spain and Arkansas, her pieces can be found in permanent collections such as the US Embassy, Madrid; the National Library of Spain, Madrid; Open Access Law, Little Rock; Café de Colombia, Madrid; DesLettres, Paris; and the European Professional Women’s Network, Madrid.
Kristin is member of the Arkansas Artist Registry, Arkansas Society of Printmakers and la Maison de la Gravure Méditerranée in Montpellier. She is the founder of the international women’s art project “ART ï TS”.
“Trained at the Mason Gross School of the Arts at Rutgers and student of the renowned Emma Amos, Kristin learned to not lose her way among the proud dictates of art trends that operate at the behest of the market. She always returns to her roots, the social activism influenced by her parents. Thus the transversality, the channelling of the collective drive, the radiation and resonance of the earth that enthral her as much as her studio work. All this concern for others, for the earth and the imprint we leave on it make their mark in her etchings and collages; in the ink, latex and copper wire she combines with parchment; the sea-coloured glass in her hanging mobile sculptures—veritable jewels for a post nuclear fallout. “
– María Vela Zanetti