I was excited to curate the Pressient printmaking show at the Weyrich Gallery in August 2016. I exhibited new prints alongside a few of my favorite printmakers: Ren Adams, Christine Herman, Evey Jones, Janet Yagoda Shagam, and April Vollmer. The exhibit was featured in The Hand Magazine Issue 14. I have posted lots of photos of the show on my Facebook Artist Page. Download Pressient PDF Catalog
Thanks to the Lithography workshop with Jeff Sippel, I'm now exploring the wonderful world of waterless plate lithography and mokulito (lithography on wood). Below is a piece I did at the workshop using watermedia on a ball-grained plate, processed with silicone, and printed on dry paper using an etching press and acrylic ink. I love how the print looks like a sumi ink painting and am looking forward to exploring these techniques further. You can see more images on my Facebook album here or join Jeff's Modern Lithography Facebook group here (Jeff teaches at Making Art Safely in Santa Fe, NM.)
“Patterns & Rhythms” was the theme of the 2014 annual invitational group show at Weyrich Gallery, one of Albuquerque’s oldest and finest art purveyors. Featured artists were Trina Badarak-Hall, Marilyn Bennett, Vicki Bolen, Patty Hammarstedt, Dale Harris, Billie Lauder, Trish Meyer, Gail Murray, Ginger Rice, Mary Sundstrom, and Sharon Wenzel. This talented group explored inner and outer worlds of design, pattern, repetition and resonance in unique and imaginative ways.
I showed some new pieces in Patterns & Rhythms, including a new tapestry using rusted Evolon:
Lost & Found (2014)
Rust and calligraphy on Evolon, silk, organza; copper, thread | 36” x 11"
I also had a new print, Address Unknown, juried into New Grounds’ 2nd International Juried Printmaking Exhibition in December 2014. See Exhibit Gallery on the New Grounds website.
I exhibited two new works at the Fiberart 2014: A Mixed Bag exhibition from September 13 – October 26 at the Rio Bravo Fine Art Gallery in Truth or Consequences, NM:
Lost in Translation (2014) [SOLD]
digital imagery and calligraphy on Evolon and organza, gold ink, thread. 30” x 22”
View "making of" photo album on Facebook.
Lost in Translation includes remnants of an old French poem about unrequited love that finds itself trapped a hundred years later inside our modern communication network, where the poetry causes the system to fail with permanent error messages. I wrote the poetry with a vintage pointed pen, scanned it, then printed it on silk organza. Similar “packets” include popular hashtags. The background was crafted from a 3D particle system. I enjoy the comparison between the high-tech digital imagery and the old-fashioned love letter. A text message will never smell as sweet...
photography and rust on Evolon; cyanotypes on silk. 30” x 22”
View "making of" photo album on Facebook.
For Recollections, I photographed neglected objects and ghost towns around the Southwest, many of which made me wonder what it would be like to return to my family home and see it so deserted. The main image of the tree was shot with a Holga plastic lens. The five cyanotypes are printed on silk and are attached only at the top; hung in a slight breeze, these lonely homes will flutter back to life!
Above: “One Hundred Horses” by Trish Meyer
Collagraph, splash ink, calligraphy. © 2014. View "making of" photo album on Facebook.
Above: "Resistance to Change" 18x18 - Digital image, thread, encaustic on board.
Above: Total Reach (sold) is a combination of a photogravure and collagraph blind emboss. Total Reach was included in the International Juried Printmaking Exhibition at New Grounds Print Workshop, Albuquerque in the winter of 2014. View photo albumonline gallery of all accepted works.
Trish Meyer refers to her artistic process as “collaborating with chance.” She enjoys exploring techniques where she is not in complete control, such as monotypes, splash ink, and encaustics.
“It may be that I am inspired by the unexpected because I spend my day creating computer graphics where pixels and words are formed with a great degree of control. When I want to pamper my right brain, I retreat to my art studio (which I’ve dubbed my ‘emotional oasis’).”
Trish finds inspiration in the apparently random yet purposeful patterns found in nature – butterfly wings, forests and rock formations. Despite her love of nature, technology does find ways to creep back into her work – but rarely used in ways that it was originally intended. Her new series of mixed media and encaustics incorporates digital imagery and reflects on the complex and often chaotic relationships introduced by modern forms of communication.
Born and raised in Ireland, Celtic themes and icons as well as remnants of Irish history also emerge in her work.
Trish Meyer enjoys exploring a wide range of experimental techniques and media including encaustic, watercolor, acrylic, calligraphy, book arts and printmaking.
Download Biography (PDF)