Brian Fisher Print, Paint and Sculpture Blog

Katsura is my Green Man collograph named for the beautiful Katsura tree, native to China and  Japan.  Please visit Brian Fisher Studio and Katsura during the Vashon Island Art Studio Tour May 6,7-13-14. This Green Man is inspired by the mythic Japanese Kodama, spirit guardians and animated souls of the mountain forests of Japan.  Kodama spirits are revered by Japanese as gods and protectors  of trees. The Kodama bless the land around their forest with fertility.  The villagers who find Kodama inhabited trees designate them with sacred rope known as a Shimenawa.   Japan honors nature and these sacred Kodoma spirit trees are often found within the grounds of Shinto shrines and Buddhist temples.

Baobab is Africa's tree and also what I have named my Green Man collograph. Baobab trees are  indigenous to 31 African countries.  Because the Baobab has a fibrous bark  and has no tree rings, it’s not clear how long the tree lives, though experts say a Baobab may live for 500 years, others estimate as many as 2000! By any standard the Baobab is the living elder of plants on a continent which reveres elders. Many myths and legends are associated with the Baobab.  Stories of the mischievous spirits that reside within them were collected by  explorers of East and West Africa in the early twentieth century.  In the Northern Cape Province of South Africa some people still believe wood spirits inhabit the flowers of the Baobab and it's said that those who pick them will be eaten by lions! In many African communities the tree is recognized as a deity who has decided to live among humans. Village life and it's rituals are celebrated beneath it.  In Burkina Faso, a mournin

This is my Green Man collograph, Bayani.  Visit him during the Vashon Island Art Studio Tour, the first two weekends in May 6-7 & 13-14, 2017. Banyani was inspired by a Philippine creation, vegetation/resurrection myth.  This story is interesting because it involves a combination of three gods to bring mankind into this world. One, Bathala, (caretaker of the earth), battles, kills and burns the second, his challenger, Ululant Kaluluwa, (sky serpent, orphaned spirit), befriends and loves the third, Galang Kaluluwa, (winged, wandering spirit).  Upon the peaceful death of and request by Galang Kaluluwa, Bathala buried Galang’s body where the serpent god Ululant Kaluluwa had once been killed and burned. From their common grave grew a tall tree with a large round nut, the coconut palm.  Its’ leaves looked like the wings of Galang Kaluluwa, but the trunk was sinuous like the the serpent Ulilang Kaluluwa. When Bathala husked the nut he found what looked like two eyes, a nose,

The mythic Green Man represents a union of humanity and the vegetative world.  He is the sacrificial human conduit and connection to the plant cycle of birth, reproduction, revitalization and resurrection. Known by many names, through time and a spectrum of cultures, including but not limited to: Dionysos, Orpheus, Osiris, Adonis, Cernnunos, Khidir etc… he is the god born to sacrifice and through his union with the goddess to be born again.   Historically, his seasonal incarnation was worshiped locally.   My print Atticus (man of Attica) celebrates the area of Greece that includes the region centered on the Attic peninsula that projects into the Agean Sea , encompass ing the city of Athens, capital of Greece.  Atticus is the first of many Collograph images I have made to celebrate The Green Man.

Artist Valerie Willson shared her approach to collograph in a couple wonderful workshops at Vashon's Quartermaster Press.  We attached thin materials like paper and cloth to plexiglass plates with gloss acrylic medium and created texture with modeling paste.  The result was a very sturdy collograph plate. Inspired by what I learned, I've been exploring the process in a series of prints about myth in nature.  Here is a drawing and collograph plate of "Atticus," from my Green Man series. Collagraph, collograph, no matter how you spell it, refers to a collage of materials glued to a substrate to create a printable plate.  Ink may be applied to the high surfaces of the plate with a brayer, like a relief print, or ink may be applied to the entire plate and then removed by wiping from the upper surfaces leaving ink between and around collage elements, resulting in an intaglio print.  I now employ both methods when making my own collographs.  Below is a detail that

Prints by Lynn McClain and Janice Campbell Ilse Reimnitz and I teach a monotype workshop one or two times a year.  It is always fun to share this print process with others and spend creative time with Ilse.  Above and below are a few examples from our April 2017 workshop.   Each was made using oil base etching inks over a smooth plexiglass plate and printed in layers with a Takach etching press. Prints by John Riley and Lou McBride

"Byzantium"  Oil on canvas,  15 3/4 x 39 3/4 in. My painting takes it’s name f ro m the ancient city of Byzantium, at the confluence of trade between the Aegean and Black Sea, founded in 667 by Byzas of Megara, Greece.  It would in the course of history become Constantinople, (324 AD), the Eastern capitol of the Christian, Roman Empire and eventually the seat of the Muslim, Ottoman Caliphate, (1453 AD). Today it is called Istanbul and a remarkable city that is representative of what is past, passing and to come. This painting is inspired by Yeats vision of a layered but fixed world that is artificial, unchanging, where ornament or object are perhaps the ideal incarnation of the soul.  These lines from his poem “Sailing to Byzantium”, in particular, are a reference for my painting “Byzantium”. Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enameling To keep a dr