PrintHouston 2022: A selection of prints by gallery artists

June 4 - July 16, 2022

Inman Gallery is pleased to participate in the PrintHouston 2022 Biennial, with a selection of prints by gallery artists, including Tommy Fitzpatrick, Katrina Moorhead, Shaun O'Dell, Robyn O'Neil, Brad Tucker, Beth Secor and Otabenga Jones & Associates. PrintHouston 2022 will continue on view through Saturday, July 16, 2022.

The prints on view were selected to highlight the diverse modes of printmaking employed by the seven artists included, from complex layered digital prints to analogue screen prints with handcoloring.

We did it (Coloring Page-Watts), 2017

Edition 5 of 12

silkscreen with hand coloring

22 x 30 in (55.9 x 76.2 cm)

25 ¹/₈ x 33 ¹/₂ x 1 ¹/₂ in (63.8 x 85.1 x 3.8 cm) framed

OJA 25

additional prints available

Otabenga Jones & Associates
The series We Did It (Coloring Page) was initially produced by Otabenga Jones & Associates for Prospect New Orleans in 2017. The image derives from the We Did It for Love installation created for the exhibition Amalgama at the Contemporary Arts Museum, Houston in 2004. For that exhibition OJ&A installed an overturned police car in the museum gallery, recalling the riots and resistance movements of the sixties and seventies. The car’s radio was playing police broadcasts from the Watts riots along side a collage of music and speeches. There are 12 hand colored screen prints in this series, each with a city name and a child's name.

Otabenga Jones & Associates was a Houston-based artist collective founded in 2002 by artists Dawolu Jabari Anderson, Jamal Cyrus, Kenya Evans, and Robert A. Pruitt. The group’s pedagogical mission took a myriad of forms, including actions, writings, DJ sets, and installations.

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Plunged Into It, 2010

4 plate color aquatint etching, Somerset white paper

Edition 29 of 40

31 x 24 in (78.7 x 61 cm)

38 ⁵/₈ x 28 ⁵/₈ x 1 ⁵/₈ in (98.1 x 72.7 x 4.1 cm) framed

SOD 60cc

Shaun O'Dell

Shaun O'Dell is an artist who usually works on paper, using ink and gouache. From 2001-2010, O'Dell's early work was characterized by singular symbolic images signifying a lineage of what the artist calls "paternal destroyers" like George Washington, Daniel Boone, and Robert Oppenheimer. From 2010- 2018, O'Dell deconstructed his cosmology into ruination through a process of formal abstraction. In 2010, Paulson Fontaine Press invited O'Dell to collaborate on several complex intaglio prints. Translating his drawing into prints was a revelatory experience for the artist, and came at a pivotal time when he was just beginning to explore abstraction.

Each print is a multi-plate intaglio etching.

" In my work at the time, I was looking back at American history and trying to figure out truthfully what's been happening. Over the years, I worked chronologically and added my own narrative, reinterpreting things that made the compositions more metaphorical.

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We Do Not Advance Through Fixed Gradations, 2010

3 plate color aquatint etching, Somerset white paper

Edition 24 of 40

31 x 24 in (78.7 x 61 cm)

38 5/8 x 28 5/8 x 1 5/8 in (98.1 x 72.7 x 4.1 cm) framed

SOD 62x

I was interested in the historical narrative that takes on a figurative form. Formally, everything was pretty representational. The more I learned about all these events, the more I became interested in abstraction. I was also coming from a musical background. The whole process that I learned playing free jazz— it’s about a structure that is improvised."

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Katrina Moorhead
Two botanicals float in a field of black, one overlaid on the other. The plants are cropped at the right suggesting movement out of the picture plane, and they leave a contemplative void to the left of the composition. Both botanicals depict the robust and hardy sea pink, a flowering plant found across the northern hemisphere, and that for Moorhead resonates specifically with her native Northern Ireland. The sea pink lives on the coast amid rocky soil and salty sea air conditions, and the plant is described as a survivor. Moorhead set out to make a portrait of this plant using a traditional rendering (seen in color) and a ‘spirited’ rendition of the plant taken from a 100-year-old drawing by Charles Rennie MacIntosh (seen in black). For Moorhead, this portrayal of the plant describes its emotional qualities and collapses time, further emphasizing the plant as a survivor.

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Robyn O'Neil
Covenant Trace, 2013

Edition 2 of 50 + 10 AP

2-run 2-color soft ground etching with waterbite aquatint on Magnani Pescia White 300 g/m

22 ¹/₈ x 25 ³/₄ in (56.2 x 65.4 cm)

22 ⁷/₈ x 26 ⁵/₈ x 1 ¹/₄ in (58.1 x 67.6 x 3.2 cm) framed

RON 251

Covenant Trace is a direct gravure created by transferring O’Neil’s original drawing on mylar to a copper etching plate through the photogravure process. A second run used water bite, an aquatint etching technique, to make the distinctive vignetting that beckons viewers into O’Neil’s drawn world. To produce the painterly effect, which is distinctive for its subtle shift from dark to light, aquatint ground was used to paint the shape of the vignetting frame on a copper plate. Next, one side of the plate was partially submerged at a slight incline in a water bath, and a printer gradually added acid to the bath. Because acid is denser than water, in the water bite process the acid sinks to the bottom of the bath; thus, the deepest etch occurs along the bottom of the plate. A progressively lighter etch is created higher up, where acid creeps up and mingles with the water bath as a printer adds more. To produce the halo-like effect around O’Neil’s drawing, this process was repeated four times for each edge of the plate.

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Portal, 2018 Edition 3 of 20 silkscreen on Yupo paper 24 x 18 in (61 x 45.7 cm) 29 x 23 x 1 in (73.7 x 58.4 x 2.5 cm) framed TF 157

Tommy Fitzpatrick
Portal, 2018

Edition 3 of 20

silkscreen on Yupo paper

24 x 18 in (61 x 45.7 cm)

29 x 23 x 1 in (73.7 x 58.4 x 2.5 cm) framed

TF 157

Portal was printed in the fall of 2018 at Texas State University, assisted by Rand Renforw. The image is based on a maquette that I created out of plexiglass screen printed on Yupo paper. I chose Yupo becuase its a plastic paper, which I felt was appropriate for making work about plexiglas and the synthetic.

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Deep Stain, 2014

unique silkscreen

26 x 20 in (66 x 50.8 cm)

31 ¹/₈ x 25 ¹/₄ x 1 ¹/₂ in (79.1 x 64.1 x 3.8 cm) framed

BT 391

additional prints available

Brad Tucker
"In the fall of 2014, Jeff Dell invited me to be a visiting artist to work with advanced students on a series of silkscreens. Around that same time I was working in my studio with rounded wavy shapes that resembled a scalloped soap dish inset in my home's shower. The shape also resembles a cartoon toothy shape. I was thinking about digital imaging and modeling, particularly how it related to the work of dentists who were showing me xrays of my teeth and using sculptural processes to fabricate replicas of my teeth for crowns. Because my own work lives between painting and sculpture disciplines, it is akin to this work of dentists and lab assistants. Contemplation of teeth goes hand in hand with thinking about the aging process. In that way the curvy, wavy shape represented something complex for me.

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Cat / the Skeptic, 2021

Edition 1 of 15 + 2 AP

archival digital print on German etching paper

29 x 18 1/2 in (73.7 x 47 cm)

30 x 19 1/8 x 1 1/4 in (76.2 x 48.6 x 3.2 cm) framed

BS 314-1

Beth Secor
"When I was one years old, my parents adopted a baby kitten, who we named Sally Skip Under The Bed Get Down Off The Table. in part after a character in the children's book, "Three Mice and a Cat." She died when I was 22 and was almost as much of a sister to me as she was my pet. The last several years have been tumultuos for all of us, and they have made me nostalgic for my childhood days, which included those pets who were never politically divisive, and who always showed us love."

Beth Secor, 2021

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