Wednesday, January 28, 2009

Art Space Talk: Bob Shore

Bob Shore is a printmaker who is originally from Dublin, Ireland. Shore has had solo exhibits at the Manhattan Graphic Center and Berlitz Gallery in New York. His work can be found in various private collections both in the US and India and at the Newark Public Library. He is an artist who is focused on process.

Untitled. A drawing of a tree engraved on a photogravure plate and then printed. By Bob Shore.

Brian Sherwin: Bob, my understanding is that you studied at the Art Student's League and Studio School. Can you discuss that aspect of your background? Have you had any influential instructors?

Bob Shore: Brian, my experience at the Studio School was two evening drawing classes over one semester. I took one summer evening class at the Art Students League; the instructor was Sherry Camhy; the class was good but very crowded. All of my art instruction has been on a part time basis.

The instructors that have most influenced me were Marcel Franquelin who greatly improved my drawing, Lothar Osterberg who taught me photogravure, Pasha Ouperov who taught me engraving and Fred Mershimer who taught me how to make multi-plate images.
Six Mile Run Series No. 2. Photogravure, aquatint. By Bob Shore

BS: Can you give our readers a brief history of your practice in general? For example, how long have you pursued art?

BS: My art practice started in 1994 with a drawing class at NJ printmaking council. From 1994 to 1997 I did some dry point and silkscreen there. During that time I also took various drawing classes. In 1997 I took etching with Bruce Cleveland at MGC and I've been doing intaglio printmaking there ever since. From 1998 to 2007 I took drawing classes with Marcel Franquelin at his studio.

BS: What interests you in depicting nature as you do? Can you discuss some of the themes or symbolism that you draw upon?

BS: I don't really know. A particular scene or pose attracts me and I put it down on paper. There's no conscious theme or symbolism.

BS: Tell us more about the thoughts behind your work.

BS: I'm simply trying to get something of my enjoyment into the final image. Once I have an image in mind my concern is with the process.

46 Jacque‘s Lane. Photogravure, aquatint. Two plate image. By Bob Shore

BS: Do you mind discussing some of the techniques that you use?

BS: Not all. My recent work is all done directly on the plate; engraving, dry point and more recently mezzotint. My engravings are usually on the backs of old copper plates (many of them failed photogravures). I leave most of the scratches, dings, etc. I like the contrast of the engraved line with the rough random marks. Some pieces such as Stripes I and II were done simply for practice.

My dry points are usually on styrene. The principal attraction of this material is cost. It's cheap but scratches very easily and unlike copper can't be cleaned up. So I've learned to live the odd random marks. One advantage of the softness is the ability to draw with sandpaper. The portrait that I have on MyArtspace was done that way.

The Six Mile Run series consists of two plate images. The key plate is a photogravure and the second an aquatint. In printing I ink and wipe two colors on each plate (a la poupee). My intent was not to produce color photogravures but to produce something of an old hand tinted photograph.

Six Mile Run Series No. 3. Photogravure, aquatint. Two plate image. By Bob Shore

BS: Is there any specific message that you strive to convey within the context of your work? In other words, what do you desire viewers to take from your work upon viewing it?

BS: No. All I hope for is that the viewer quietly enjoys the image.

BS: What are you working on at this time? Also, will you be involved with any upcoming exhibits?
BS: I'm currently working on some small (4 square inch) plates, which I plan on entering in the International Miniature Print Competition at the Center for Contemporary Printmaking in Connecticut.

BS: Finally, is there anything else you would like to say about your art?

BS: My primary concern and enjoyment is with the process and the problem solving aspect of getting something on paper, which matches the mental image. I've always got an internal picture of the hoped for final result. Once I've got a close enough approximation or have decided that it's never going to work, I'll go on to something else. My work is image driven not idea driven.
You can learn more about Bob Shore by visiting his profile-- You can read more of my interviews by visiting the following page--
Take care, Stay true,
Brian Sherwin
Senior Editor
New York Art Exchange

1 comment:

jafabrit said...

thank you for that, I really enjoyed the images and learning a little about the process and artist.