The woodcut is the most ancient of all forms of expression in printmaking. Its early beginnings are found in China and Egypt as wooden stamps designed to make symbolic or decorative impressions on clay and wax. With the development of paper in China in the second century AD, stamping blocks evolved into wood blocks printed onto paper. Woodblock printing came to Japan in the 6^th century AD in the wake of Buddhism, and acted as a way to deliver a religious message. In the 17^th century the Japanese were using woodblock also for artistic expression, and this art form still maintains a prominent position for contemporary Japanese artists.

The woodcut in western art evolved as a later expansion of the utilitarian printing of textiles from wood blocks in the early 14th century. Though paper from the east was known in Spain in the 11th century, it was not until paper was produced in large quantities in France, Italy, and Germany in the 14th century that woodcut printing began to unfold. In southern Germany, woodcuts were used to promote religion, in the form of pamphlets and post cards, and were also produced to sew into people’s clothing to protect them as good luck charms.

With the invention of printing from movable type in the mid-15th century, woodcut began to appear in more highly developed forms as illustrations for books. By the late 15th century the great artists of the time, Durer and Hans Holbein in Germany, Lucas von Leyden in the Netherlands, and Titian in Italy were using this new medium with great eloquence.

In the age of technology, we have access to numerous art making tools that can be viewed and disseminated both through print and through screen. Small editions of 100 woodcut prints are now replaced by commercial printing, which can now be disseminated across the globe to billions. That being said, artists today continue to use the ancient art of woodblock printing as a mode of artistic expression.

The artists of this project delved into the ancient technique of woodcut printing using state of the art laser cut technology, while exploring the theme of ancient techniques and traditional technologies of the UAE and the Arab World. Items investigated include but are not limited to: Traditional Architecture (coral, wind towers, mud brick like the Al Bidiya Mosque); Dhow Boat construction; Traditional Gargour Fishing Traps; Irrigation and farming techniques; Craft of weapons and tools; traditional medicine; and ancient rites and traditions. The collection of works has come together in the form of a book illustrating each artist’s interpretation of the project.

ARTISTS

COORDINATOR
Karen Oremus, Associate Professor
College of Arts and Creative Enterprises

Project 1: Advanced Intaglio – Solar Plate Printing and the laser cutter

Tangible and Intangible forms of Adornment as Expressions of Emirati Identity

An Adornment is generally an accessory or ornament worn to enhance beauty or status of the wearer. They are often worn to embellish, enhance, or distinguish the wearer, and to define cultural, social, or religious status within a specific community or group.

Adornments can extend beyond accessories that embellish the human. They can also be accessories that adorn one’s pets, livestock, the dinner table, or elements of one’s home. Adornments can be tangible (perceptible by touch and sight for example with such items as family heirlooms; henna; clothing; costumes; jewellery and accessories; badges; uniforms; headdress; etc.) or intangible (incapable of being perceived by the sense of touch, but through other senses such as smell with items such as perfume or oils).

In this project students are to explore their personal histories through tangible and intangible forms of adornment as expressions of Emirati identity. They are to explore their own personal history through objects in their family’s homes, archives, photographs, letters, artefacts, stories and memories that relate to the topic of Adornment.

Students are to collect visuals for the work and are to assemble them into a compelling layered composition telling their story. Images should be high resolution, and collected through primary sources (scanning/ photography). Students should integrate text with the visuals to provide more information to the viewer. The imagery should be collaged in layers keeping in mind the creation of these works will unfold in a two-step process. Your primary imagery will be transferred to a solar etching plate and printed on fine art paper. The print will then have a secondary layer (which could be the text, patterns or another visual element), which will be laser cut from the image creating a negative or laser engraved removing previous elements.

• Oremus_Student Work (PDF)