ere and There: Two Degrees of Separation
Sandy Wimer and Bill Hosterman
| “Via Scorpio I”, stone lithograph / chine colle
6″ x 7″, 2009
| “Via Scorpio II”, stone lithograph / chine colle
8″ x 9″, 2009
Growing up and spending most of my life in the plains states provided an experience of living with a sky that is cinematic. My work comes from sky images either remembered, invented, or found through photography. I am charged emotionally and visually when I focus on the sky. Finding delicate fleeting patterns, coupled with subtle atmospheric shades of gray; I seek a composition of shapes and forms, of light and shadow, of weaving in and out between the subject and its environ- ment that speaks to an indecipherable urge. As a visual artist with a background in traditional printmaking, I have utilized many techniques in my work from one series to the next. I have explored both traditional methods and newer, digital-based methods and I feel I have come full circle. These recent prints are a centering point for me – a stepping back and reconnecting with printmaking as I first learned it and remembering why I fell in love with it.
On choosing Bill Hosterman
I first met Bill Hosterman at Tamarind Institute during a month long workshop on nontoxic lithography. I was impressed with his skills as a printmaker and his experience in South Africa as a printmaker. I lost touch with his whereabouts but recently on the website INKTERACTION I found that he is teaching in Michigan at Grand Valley State University and still making beautiful prints. What stands out to me about his work is his attention to detail, craftsmanship, ingenuity and creativity. The etchings are reminiscent of 16th century German etchers, which are some of my favorites.
| “Locus”, etching
11″ x 12″, 2009
| “Reach”, etching
11″ x 36″, 2008
I am interested in creating psychological spaces that reflect upon the nature of our physical existence. Rhythm and repetition allow my body to become a conduit to my mind, permitting me to transcend conscious experience, to embark upon a journey, filtering and distilling the senses before arriving in a fundamentally new place. Through the physical process of creating these pieces, they become a part of me, an extension of my responses to the physical world, an expression of my mental state and a catalog of my memories. For the viewers, I want my work to be a collaboration in which I strive to create a living place within their mind, evoking in them a desire to explore and contemplate, to find connections to and bridges between the physical and mental world.
My work is based upon analogy, from its content to the creative choices I make. For example, drawing offers a means of defining the mental self through physical action. It becomes a type of mental motion, so as I move my tool across the surface, I am moving from one place to another, and the movement defines a new space in my mind. Through the line, I am able to explore ideas about the individual in the environment, as well as the desire, if not the outright human need, to seek out answers about our place in the greater scheme of things.
Printmaking is another essential and fundamental aspect of my work. On one level, there are clear boundaries that govern the nature of the process and offer structure for my creative process. However, there is also room for me to identify ideas that are not always intentional. Making work becomes a collaboration with the part of my mind that is instinctual, allowing me to respond intuitively to the medium – building layer upon layer, each existing on its own, but coming together to form something new and unpredictable.
Using layers and parts of larger works to create the collages allows me to explore ideas about individual and human context. Through collage, I am able to construct and deconstruct each image, keeping what feels essential and eliminating excesses. Pairing and juxtaposing the elements redefines them into something new yet again.
Over the years, I have made work that is both realistic and non-representational. Lately, I have gravitated toward the latter form of imagery because it allows me to explore without restriction, both in the work and in the mind of the viewer. This openness enables me to create a broader dialogue with the viewer, allowing greater opportunities for interpretation and involvement.