I didn't particularly want to drive out to Chestnut Hill to look
at the work hanging at JMS Gallery, but the image on the postcard
and the knowledge that Daniel Heyman had a number of pieces
in the show there sold me enough to get me going (top, "Warren" by Heyman).
The Heymans (are we on a Daniel Heyman kick here or what?)
not only did not disappoint. They pleased enormously. And
some work by Vladan Gradistanac also piqued my interest.
made a series of portraits, silhouetted figures printed from
linoleum blocks on patterned Japanese papers. The papers were
not necessarily modest and subdued. The paper behind "Shane"
was covered with red, pink, green and blue mountains ("Shane"
left). An intense yellow plaid framed "Jonathan,"
(below, right) which is printed on stripes. In contrast to
all this busy pattern, the inky figures or heads and shoulders
were flat, defined by the cut of a jaw, a few lines for features,
some sparely chosen details (I mean, who would cut into the
linoleum block any more than necessary?).
The specificity of these portraits made with such economy
was a reminder of how we are so not alike. The layers of pattern
peeked through boldly where the cuts remained uninked, creating
space or backdrop. They also seeped up through the ink itself,
adding texture to the inky areas. In Heyman's statement he
writes that the layers allude to the layers of his subject's
we've seen a bunch of other Daniel Heyman prints--at Moore
College's Levy Gallery, in the "Philadelphia Selections
Five" (see Roberta's post), and at the "Several
Steps Removed" show of prints and printmaking at Fleisher,
(see my post). Heyman, who's has a Fleisher Challenge show
coming up in February, recently wrote a post for us about
(Prints are not his only medium, and there's a charming painting
of his downstairs at the gallery--"Terrace in the 6th,"
showing a figure having dinner on a terrace in Paris.)
Roberta Fallon and
Libby Rosof's Artblog