An intensely colored barnyard red square flattens the side of this New England home. In this second iteration in the series, Jeffrey has abandoned his usual atmospheric qualities to embrace the “flatness” that is often associated with western woodcut prints. He has accomplished this through constructing both a frontal understanding of pictorial space, and introducing a compositional red shape.
Last year Jeffrey began a series of beach shanties, which depicted the same image repeated in the different art mediums of oil, watercolor, oil pastel, charcoal, and pastel. After painting in oil for such a long period of time, Jeffrey wanted to experiment with other traditional mediums and take their lessons back into oil. He hopes to continue this approach in woodcut, by learning from the mediums clearly composed shapes, and a defined structure and unforgiving clear mark making.
This print was printed from two separate blocks of wood (one for each color), and carved by simple printmaking gouge tools. Jeffrey printed the woodcuts on his large format electric etching press in Willimantic Connecticut with oil-based inks on Stonehenge paper.