Zebulon on the True Course, Undeterred and Unspurned (Detail)
2012
Woodcut, monoprint, polyester plate lithography
22.75 " x 19.75"
Zebulon on the True Course, Undeterred and Unspurned
2012
Woodcut, monoprint, polyester plate lithography
22.75 " x 19.75"
White Cloud and the Great Fire
2012
Woodcut, collagraph, monotype
24" x 16"
Edition of 5
Worshipper of Rivers, Victim of Illustion
2012
Silkscreen polyester plate lithography, monotype
22.5" x 15"
Worshipper of Rivers, Victim of Illusion (Detail)
Silkscreen polyester plate lithography, monotype
22.5" x 15"
A Declaration for the City
2012
Linocut, monoprint, chine-collé
23" x 16"
A Declaration for the City (Detail)
Linocut, monoprint, chine-collé
23" x 16"
White Cloud Lament
2012
Monoprint, linocut, chine-collé
44" x 30"
Recollection
2012
Monotype, polyester plate lithography, hand coloring
17" x 14"
Zebulon's Shadow
2012
Woodcut, collagraph, monotype
22.5" x 14"
Mill Creek Folk
2012
Collagraph, chine-collé , ink
44" x 30"
White Cloud Lament
White Cloud Lament is a series of monoprints that reference the rise and fall of the steamboat era in St. Louis. The individual titles in White Cloud Lament are appropriated from the book Economic Rivalry Between St. Louis and Chicago: 1850-1880 by Wyatt Winton Belcher (1947), a painful account of the pride that caused St. Louis to ignore the potential of locomotive trade. I am interested in the prophetic, visionary language used in the first half of the 19th century to express the expectation that St. Louis would become the “New York of middle America.” In response to this, several pieces in this series include a text from the Book of Isaiah, suggesting hope after a time of lament.
All Images © Kim Morski