prints

Go On, Obed Edom

For many years the story and name of Obed Edom have struck deeply within me. His story in the bible is pretty short. As with many things I have tried to make my work a path into exploring this mystery. This print is now finished. To go along with its completion, I have included a song that I wrote a number of years ago of the same subject and with the same goal in mind. I hope that they are moderately fitting accompaniment to a powerful story and special man who I know very little about.

“I Chose You, Obed Edom” linocut, 12″x18″, sepia ink on French’s Durotone paper

eyes and burning “V”, feather, wheat and cedar sprig in his head covering.

Cherubim and Mercy Seat

Obed Edom’s right hand

three birds in his beard

The Holy Ghost’s wild goose, and sleeping kestrel

Onforan

Prairie Creek Dining Table in white oak and black walnut.

Red Elm window sill and shelf moving from rough to smooth.

and being joined longways.

Obed Edom is getting his finishing touches.

A test print is pulled to see what needs adjusting.

John Beartrist Laceroot is stirring.

Jonas is free from his box and wondering if it could be time to tell his story again.

Clive Hicks Jenkins has posted the second part of an interview with me about The School of the Transfer of Energy Puppet Theater here. Thank you Clive.

Carving Mr. Edom… Still

Slowly carving away at a block of linoleum featuring Obed Edom and the Ark of God’s covenant with Israel.

Copper and Oil

The printing of the 1st and 2nd state proofs of The Flying Fish of Provision copperplate engraving. Copper and oil14

Thanks to my son for his help photographing when my hands were inky.

Beasts of the Waters

…So God created great sea creatures and every living thing that moves, with which the waters abounded… NKJV

Cu

The Deeping Cold outside says to me, “Jack, it is a good time be indoors cutting copper into the flying fish of provision.”

“Indeed!” says I, “but let us not forget those who toil without such comfort.”

“Verily!” says the Deeping Cold.

bevel

edge dust

the transition

gouache

upon which to draw

cultivators

scribe

awe

hard meets soft

line upon line

slowly slowly

Of Past and Future Prints

Plenty of two-dimensional work today: First, some hand-colored prints of Jacob Wrestling the Angel of God. A few of these are available if they strike you. Next, are some studies for a large, 18″ x 12″, lino-cut of Obed Edom. Finally, a few more prints and drawings.

Four hand-colored Jacobs on the table

Hand-colored Jacob, version 1 (sold)

Color

Coloring

Hand-colored Jacob, version 2

Evening light (The Golden Corridor)

Hand-colored Jacob, version 3

Obed Edom Studies

I Chose You, Obed Edom (Preparatory drawing for a large scale lino-cut)

Cherubim and Eye

Earlier version of Obed Edom

Obed Edom with a sprig of cedar

head studies

Walking Man Becomes a Tree, sketch for copper-plate engraving

Go On, Job, Bread & Water, for sale on Etsy

Goshen Ewe-Lamb, 3-color lino-cut, for sale on Etsy

Finally and thankfully, I was engaged by the keen and mysterious richness of this astonishing poem , from Tom Hirons yesterday. As a rule, I generally do not to link to other work here, so Sometimes a Wild God represents an exception.

The Full Glowing Day

The Dove and Rings

The Dove and the Rings, copper engraving, 2003

I have been rephotographing some of my work as I update the pages here at The School of the Transfer of Energy. I always forget about this engraving that I did back in 2003 for the wedding announcement of my greatest friend. There is nothing in my experience to compare with the quality of line that comes from engraving copper. My poor example here is nothing compared to the great masters of this art, both living and dead. All the same I breath a deep breath of satisfaction at seeing the beautiful lines brought about by such force and intensity as the cutting of the copper and the pressure of the press.

Zechariah

Zechariah, proof of a 3- color lino-cut.

I’ve been tinkering with this print for a few months now trying to get it right- not really sure that I am getting anywhere. While the 3rd block still needs a little adjusting- some of the lines are too narrow and gather ink to fast- it seemed ready to offer up here. Maybe you can give me some insight.

The print employs 3 different blocks, and there are in truth 4 colors if you include the white of the paper, which is part of the design. To cut down on time between printings in developing the proofs, I have been using water based inks. The final edition will use inks with oil as the vehicle. I have included a number of images from my process and some variations of the actual print along the way.