Had a great time learning a thing or 999 about producing mezzotint plates with the master, Guy Langevin. He had a very physical approach, almost like a martial art or sport. He corrected my posture and my technique very thoroughly, making me aware of how the position of my body would affect the outcomes both of the rocker and the wiping of the plate. What a great example of the physicality of printmaking! Your balance and technique must be mathematically precise and careful a
Hey y'all! How's it going? I am pleased to announce some upcoming shows. This week I’m proud to show with Color Lines at the Neal Marshall Black Culture Center organized by Brooke Starks, next week I’m up for a month in Seattle as part of the Backstreet Bazaar Festival curated by Jake Millett, and I was just accepted to the Justice (League) Exchange Portfolio juried by Alison Filley at St. Ambrose University! Exciting, especially when I know so many excellent artists like my
Wanted to really get these things going 100%. I want the viewer to be able to see both sides of the paper and the print, so they'll be off the wall. They'll divide space so that folks have their backs to the wall reading the back side of the image. Each one presents a multitude of perspectives, both literally and metaphorically. That engages with the idea of the false binary, how a binary worldview can seem appealing but it ultimately to inconvenient to fully maintain. Simila
I am proud to say I was featured on the always interesting, always up-to-date Chromatic Watch, run by the righteous Ariel Torres and Sean Collins. Many thanks for your press!
"Raphael Cornford’s work feels fluid, feels factory-modern; augustly mechanical, technological underpinnings are given center-stage, mechanics of the body revealed through wire-forms, the process of the creation of today’s things depicted with pulpy grit—a lugubrious speed infects every line, the coal-