Crying woman-orange, purple, gold.
“The only valid printmaking today is the process-oriented, research approach which incorporates all we presently know and have come to awareness of concerning the nature of art and life for the given individual. This is only possible to know through careful study of past printmakers and artists. Printmaking can be executed as a single medium or can incorporate multiple mediums at once. “An Aesthetic for Printmaking” sets forth my beliefs for the practicing printmaker today.”
still life-objects on desk
sphere and rectangle
still life-objects on table
John Timothy Robinson is a traditional, mainstream citizen and graduate of the Marshall University Creative Writing program in Huntington, West Virginia with a Regent’s Degree. He minored in Studio Art: Printmaking.
John is also a ten-year educator for Mason County Schools in Mason County, WV. He is a published poet with work appearing in fifty-one journals and websites since August 2016 in the United States, Canada and the United Kingdom. In Printmaking, his primary medium is Monotype and Monoprint process with interest in collagraph, lithography, etching and nature prints.
“A Grotesque” appears in The Diagram Issue 16.6 2016.
“Red Triumph with Daffodils” was published in The Tishman Review 2017.
“Gold Fusion” first appeared in New England Review 2017.
“Golden Bridge 1,” “The Cook,” “Crying Woman” (block image), “Religious Figure 1,” “Orchard Keeper,” “War Face,” “Candle,” “Iris” (after Ayres Magenta 1), “Pioneer Cabin” (photo) and “Old Car; Mt. Carmel Ridge” (photo) first appeared in New Plains Review print and online 2017.
“Blue Abstract” first appeared at Inscape Journal of Brigham Young University 2017.
“Leaf Image” was published in Twyckenham Notes 2018.
“Synapse Tree” first appeared in Mud Season Review 2017.
See part one of John’s post on aamora here