John Schwind's Profile

About

In this series of prints, I wanted to approach each as a painting wholly individual from each other, yet the same. From traditional means to theoretical ideas of art and interventions, as an Artist, I enjoy experimenting and challenging myself.

With etching/drawing multiple imagery into the 18inch by 24inch metal zinc plate, one can call this etching a collage of imager. The imagery that I have etched is a farce of the financial crisis we are looking at in today’s times. An Avant-Guard of financial emotionalism. To me, these prints are a sign of the times.
Where the chine colle’ is placed upon the image is a statement about the context of that image, an example would be a Bull and placement of a stock on the Bull, as a pose to placement on the Bear.
The overall composition of the etching, I am thinking of Picasso’s Guernica, the color, Kandinsky, and placement of…

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  • Male
  • Born on April 4
  • Joined December 11, 2010

Favorite materials

Oils, Prints, Watercolors, pen and Ink, scuplture

About

In this series of prints, I wanted to approach each as a painting wholly individual from each other, yet the same. From traditional means to theoretical ideas of art and interventions, as an Artist, I enjoy experimenting and challenging myself.

With etching/drawing multiple imagery into the 18inch by 24inch metal zinc plate, one can call this etching a collage of imager. The imagery that I have etched is a farce of the financial crisis we are looking at in today’s times. An Avant-Guard of financial emotionalism. To me, these prints are a sign of the times.
Where the chine colle’ is placed upon the image is a statement about the context of that image, an example would be a Bull and placement of a stock on the Bull, as a pose to placement on the Bear.
The overall composition of the etching, I am thinking of Picasso’s Guernica, the color, Kandinsky, and placement of chin colle’ Escher, lastly the flag prints of Jasper Johns. The prints that are framed I had done at Montserrat College of Art in 1993, in which I graduated with a bfa in 1994. I had the same concept in those prints in mind for this particular show.
Each print in and of itself is a experiment. The pressing of the prints, for me, is the most anxious exciting time. As I have a vision of what I am looking to get on the print; I however do not know until I actually look at it. I enjoy the process as it is all preparation before actually printing the work, and like a slot machine in a casino, one does not really know until printed. It is important that all imagery was drawn backwards and prints forwards, thus I have drawn in Morse code stating “Mirror Image” within the prints. I purposely etched the 02$ of the $20bill as also a hint of backwards forwards.
These works and this style I had conceived in 1993 at Montserrat College of Art, and in regards to the ups and downs of the markets. Imagery one may find: ticker tape, bull and bear, a farce of Nostradamus’s antichrist-sardonic double elbowed comical figure, a stylized tsunami, grid work with Morse code, a grandfather clock at 11:59pm, a nuclear cloud with a rose in it, National debt in front of the bull, Oil Pumps, a $02bill with a city and smokestacks for global warming, an Indian head with war paint, a radiological sign near title wave symbolizing Fukushima, a rowboat, symbolizing staying above water, the hand of government holding the face of paranoia, a monarch butterfly, as wings of butterflies were used for dye in printing ink for money. Eyes and mouths are symbolic representations of consumption.

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