Art has been my favorite subject since kindergarten, but my passion for art evolved in earnest when my children started youth sailing on Sundays. Beautiful days at the harbor and beach called me to sketch everything I saw. The sketches led me to watercolor and to then printmaking. My favorite venue for creating art is the water-based monotype. It allows me to create illusions of liquids or solids, opaque and transparent and gives the depth of color and focus that best expresses the fluid nature of the ocean. Using water-based dyes and sponge rollers allows me to create not a photorealistic image but an evocative impression of the subject. It is icing on the cake when I get to see others enjoy the feeling I am trying to convey.
Sailing, swimming and surfing is part of my family’s everyday life. Being connected with my family comes first, and expressing those feelings through art is very satisfying. Many people can relate to these same feelings and life experiences. The ocean is home to me. It is a place I can go to reflect, get inspiration or simply remember all the good times with family and friends.
I got my start in monotypes with Joan Gunther and other print making techniques with Siu Zimmerman in Santa Barbara City College’s Adult Education program. For the past ten years, I have been working with a group of friends at my art studio which provides a supportive yet critical environment.
Bio - Yessy Kazali Kim lives in Marina Del Rey with her husband. Born in Java, Indonesia, she moved to Los Angeles at the age of 15 to attend high school. She started college majoring in Chemistry at Westmont College. Her artistic journey began when she took a beginning art class in the fall of her senior year. She went on to earn her Bachelor of Fine Arts one and a half years later.
After a 12 year break from art raising her family, she began taking art classes at The SBCC Adult Education Program. There she discovered a water-based monotype combining painting and printmaking processes using water-based inks.
She is primarily a printmaker and also works with mixed media and collage.
Statement - My paintings usually start with a color idea then I develop this idea into a series of pencil and collage sketches. These sketches evolve into composition in which color is usually the principal subject. I then draw the chosen compositions directly on several Plexiglas plates at the same time with water-based ink using foam rollers, foam brushes, and items to add ink on the plates. I also remove ink with swabs and alcohol. When everything is ready, I then print to paper using an etching press.
I focus on working innately learning from the piece through the basic process of creating. My recent work integrated multiple techniques, including monotype with multiple drops, chine colle and collagraph.
Growing up on a big farm in Minnesota, we had no television or indoor plumbing. I spent my free time reading, making mud pies and coloring, cutting and pasting. As an adult, I have moved around the U.S. to places with trees, mountains and water, which is my inspiration in many of my prints.
I have found that printmaking is an exciting and interesting medium. I’m back to coloring, cutting and pasting. I can manipulate the paint on the plate with rollers and a palette knife, and add texture by laying mesh, leaves, etc. I can also add pieces of paper to the plate in the printing process called chine colle. Pulling the print is like magic, always a bit of a surprise.
My other creative outlet is ceramics. I love working on the wheel making piggy banks, mugs and bowls, and hand building dishes.
CHRISTINE LOIZEAUX received her B.A. in Graphic Art and Dance from Bennington College in Vermont. Afterwards, at The Pratt Graphic Art Center in New York City, she focused her printmaking on stone lithography and etching. These media were used to portray subject matter deeply personal to her life: the New Jersey landscape of marsh, brambles and trees and figures of dancers. She continued to perform and choreograph for her own dance company throughout New York and New Jersey.
Later, she held the position of Associate Professor of Dance at Grand Valley State University, Michigan for 15 years. Upon moving to Santa Barbara in 1990, she returned to printmaking, watercolor and choreography.
Christine’s work is primarily process oriented. Interest is in the actual act of placing the ink on the plate, manipulating the image, transferring marks, lines, texture and use of stencil to gain the illusion of depth.
She is also governed by her dual profession as choreographer and filmmaker. Constructing and dividing space, inventing bodily movement, and structured play all contribute to shape her creative surge.