Helen Gotlib

Gotlib uses a small press and raw commercial materials to render uncommonly large print based images. She pushes the boundaries of printmaking. She brings printmaking out of the 1600s and into today's white wall art spaces. Gotlib's unorthodox approach to the tradition of printmaking is balanced by her subject – the fascinating and gradual changes in terrain and flora across seasons and geography. Gotlib takes inspiration from daily adventures in her Michigan woods, and from her frequent cross county travels. She patiently and unvaryingly transfers her impressions of these encounters on to the blocks and plates that add up to the contemporary print based mixed media she produces.

Intaglio and relief printmaking are the foundation of my work. Although I do produce traditional editioned prints, over the years I have expanded my practice to incorporate direct drawing, painting and carved surfaces on to which my printed images are adhered. This allows me to produce varied editions and entirely one of a kind print-based work. All of my work focuses on nature with a particular emphasis on plants, ranging from dried flowers to logs.

Intaglio and relief printmaking are the foundation of my work. Although I do produce traditional editioned prints, over the years I have expanded my practice to incorporate direct drawing, painting and carved surfaces on to which my printed images are adhered. This allows me to produce varied editions and entirely one of a kind printbased work. All of my work focuses on nature with a particular emphasis on plants, ranging from dried flowers to logs.

"Much of human communication is nonverbal. Plants obviously cannot speak, yet they can be as emotive as a silent figure. Emphasizing the expressiveness of botanical and human structure rather than conventional beauty is what drives my work." A lifetime interest in art led Helen to study at the University of Michigan's School Of Art and Design where she divided her time between printmaking and scientific illustration. This lead her to develop a process-oriented drawing style characterized by extreme detail. Most recently, Gotlib has made an extensive exploration of a deceptively nuanced and emotional subject – flowers. By following the life cycle of flora, but focusing particularly on dried, dead flowers, she has managed to create images of unexpected beauty and emotional power.

Much of human communication is nonverbal. Plants obviously cannot speak, yet they can be as emotive as a silent figure. Emphasizing the expressiveness of botanical and human structure rather than conventional beauty is what drives my work. I attend numerous drawing sessions with live models. Working with fa living breathing human being rather than a photograph is essential to capturing pure emotion. As well, my botanical pieces are taken from real still-life arrangements. I often record the life cycle of a bundle of flowers from vibrant life, through to the delicateness of the dry final state. I use wet and dry mediums both additively and subtractively in order to create weathered atmosphere. Once I have captured the essence of the subject I continue working the piece independently of the model using a variety of unconventional techniques. Layers of ink followed by layers of gouache are often rubbed away using a scrubber brush to generate texture. In other cases I will spray my drawings with a vigorous jet of water from the kitchen faucet to create liquid effects.

Much of human communication is nonverbal. Plants obviously cannot speak, yet they can be as emotive as a silent figure. Emphasizing the expressiveness of botanical and human structure rather than conventional beauty is what drives my work. I attend numerous drawing sessions with live models. Working with a living, breathing human being rather than a photograph is essential to capturing pure emotion. As well, my botanical pieces are taken from real still-life arrangements. I often record the life cycle of a bundle of flowers, from vibrant life through to the delicateness of the dry final state. I use wet and dry mediums both additively and subtractively in order to create weathered atmosphere. Once I have captured the essence of the subject I continue working the piece independently of the model using a variety of unconventional techniques. Layers of ink followed by layers of gouache are often rubbed away using a scrubber brush to generate texture. In other cases I will spray my drawings with a vigorous jet of water from the garden house to create liquid effects.

Much of human communication is nonverbal. Plants obviously cannot speak, yet they can be as emotive as a silent figure. Emphasizing the expressiveness of botanical and human structure rather than conventional beauty is what drives my work. I attend numerous drawing sessions with live models. Working with a living, breathing human being rather than a photograph is essential to capturing pure emotion. As well, my botanical pieces are taken from real still-life arrangements. I often record the life cycle of a bundle of flowers, from vibrant life through to the delicateness of the dry final state. I use wet and dry mediums both additively and subtractively in order to create weathered atmosphere. Once I have captured the essence of the subject I continue working the piece independently of the model using a variety of unconventional techniques. Layers of ink followed by layers of gouache are often rubbed away using a scrubber brush to generate texture. In other cases I will spray my drawings with a vigorous jet of water from the garden house to create liquid effects.