#Collagraph
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maja-art.bsky.social
Maja Kihlstedt: Wild Carrot #11, 22 x 30", collagraph, intaglio, 2026 #printmaking #collagraph #intaglio #contemporaryart
November 9, 2026 at 8:01 PM
maja-art.bsky.social
Maja Kihlstedt: Some recent work from my Wild Carrot series. I've been experimenting with collagraph printing, cutting and carving into cardboard to create the images. I like seeing these nine together. #printmaking #collagraph #intaglio #contemporaryart
November 9, 2026 at 7:58 PM
maja-art.bsky.social
Maja Kihlstedt: Wild Carrot #1, 22 x 30", collagraph, intaglio, 2026 #printmaking #collagraph #intaglio #contemporaryart
November 9, 2026 at 8:01 PM
askylitocean.bsky.social
"Trio" is a 2021 limited-edition collagraph print by the British artist and printmaker Victoria Keeble.
The artwork showcases a dynamic and stylized arrangement of three galloping horses—one stark white, one deep black, and one intricate dapple pattern—racing fluidly across a shoreline. Keeble, who originally trained as a textile designer, utilizes rich shades of monochromatic blue and highly textured, swirling brushstrokes in the sky to evoke a mystical, atmospheric coastline illuminated by the soft glow of a full moon.
November 9, 2026 at 4:26 AM
plateinkpaper.bsky.social
For Portland area folks-
Check out PrintFest 2026, a show of contemporary printmaking opening tomorrow 11/6 at GaGallery.
I am happy to have my recent collagraph 'Returning' included. The show will be up through Dec 12th. Info on the where and when are attached.
#printmaking #pnwart #collagraph
November 6, 2026 at 2:52 AM
chrispirillo.bsky.social
A free browser tool turns shortwave warbles into weather maps and cuts out the web player’s gaps

lockergnome.com/free-browser-weather-fa…

#tech
Chris as a collagraph, pulling a weather map out of a fax machine beside a radio
November 6, 2026 at 6:20 AM
chrispirillo.mastodon.social.ap.brid.gy
A free browser tool turns shortwave warbles into weather maps and cuts out the web player’s gaps

https://lockergnome.com/free-browser-weather-fax-decoder-corrects-web-radio-audio-gaps/

#tech
Chris as a collagraph, pulling a weather map out of a fax machine beside a radio
November 6, 2026 at 6:20 AM
beechworks.bsky.social
Thanks - it’s a collagraph print.
Of a drawing!
October 31, 2026 at 8:58 AM
beechworks.bsky.social
Thanks - it’s a collagraph print.
Of a drawing!
October 31, 2026 at 8:58 AM
little-babushka.bsky.social
Collagraph printing!
A collograph printing of a beetle repeated 8 times and flipped and then colored with highlighter and pen
October 28, 2026 at 7:07 PM
trahias.bsky.social
Sarah Ross Thompson (British Artist, born 1965)
The Simplicity of long Shadows", 2023.
Collagraph Print, 40 × 40 cm.
Private Collection
#art #painting #artist #BlueSkyArt
October 28, 2026 at 9:56 AM
chieflotsahair.bsky.social
First class of the day was collagraph print making! Now I really want a print press! 🧵
A photo of my collagraph plate the background is plastic squares. there is a yellow burlap heart at the top and corrigated cardboard scissors A photo of the matrix covered in pink ink in the background is the print of the matrix A photo of the scissors that inspired my design. They are 10 inch tailor scissors
October 17, 2026 at 3:34 PM
curation-lab.bsky.social
Strong archival portrait contextualizing Ayón within her monumental collagraph. The post thoughtfully frames her conceptual concerns, though the image itself is documentary rather than a standalone artwork.
iduhouse.bsky.social Idu House @iduhouse.bsky.social · 24d
🖤 Artist of the Day: Belkis Ayón

Belkis Ayón turned silence into a visual language. Through collagraphy and layered textures, she reimagined Abakuá mythology around Sikán, exploring gender, power, sacrifice, spiritual life, and memory.

#CreatorsAtWork #Skystorians #BlackSky #BlackSkyArt #Art
Belkis Ayón stands with her arms folded before a section of her monumental color collagraph La cena (The Supper), made in 1988. She wears a sleeveless white T-shirt printed “CUBA 513,” small earrings, and short natural hair, looking slightly past the camera with a half-smile. Behind her, the artwork fills the frame: mouthless human figures in electric pink, blue, green, yellow, red and tan gather around a black table, their almond-shaped eyes floating in mask-like faces. One yellow figure bends over a bowl of blue fish while another raises a hand to its face. The photograph matters because artist and breakthrough work occupy the same frame. Ayón was still a young art student when she made La cena, one of her first monumental collagraphs. Collagraphy begins with a plate built like a collage: papers and textured materials are attached to cardboard, inked, and run through a press. To escape the press’s size limit, Ayón printed separate sections and joined them into an image large enough to confront the viewer almost bodily. She had begun researching Abakuá mythology as a student, despite being excluded from the all-male Afro-Cuban brotherhood whose stories fascinated her. Rather than illustrate its oral traditions literally, she invented a visual language for them and centered Sikán, the woman whose discovery of the sacred fish Tanze leads to her silencing and death. Ayón later described herself, like Sikán, as an “observer, intermediary and revealer.” La cena became a hinge in that project. Ayón was dissatisfied with this bright version and reworked the composition in black, white and gray by 1991, the palette that would define her mature work. Here, before that turn, we see the creator literally standing inside the world she was building. Belkis Ayón’s Nasakó inició (Nasakó Initiated), 1986, is a horizontal early collagraph dominated by three colors. A tall black, mouthless figure stands at the center with arms stretched wide and pale eyes turned slightly upward. White ritual markings sit on the torso and pelvis. Across the white ground behind him, rows of rough red fish swim laterally like a repeated current. Four squat yellow figures patterned with irregular black spots bend low on either side, their rounded heads dropped toward the ground; each has a dark circular opening near the base. The forms are flat, graphic and almost emblematic, yet the uneven printed textures keep every body from becoming a simple silhouette. This is Ayón near the beginning of the language that would occupy her career. Her first works on Abakuá date to the mid-1980s, while she was still a student. Nasakó is the diviner and principal religious figure in the origin story as Ayón studied it: when Sikán encounters Tanze, the sacred fish whose voice carries spiritual power, Nasakó binds her to secrecy. The fish repeated behind him therefore belongs to the story’s struggle over knowledge, authority and who is permitted to possess either. The palette also reveals an Ayón many viewers never meet. Before her famous blacks, whites and grays, she worked in strong blocks of color and geometric compositions; scholarship on this early period connects those planes of color to Cuba’s vigorous graphic-poster tradition. Even here, though, she is not simply illustrating ritual. She is designing an iconography for a tradition with little figurative imagery available to her, translating oral myth through printmaking and her own imagination. Six years before her mature monumental works, the essential questions are already present: secrecy, gender, power, sacrifice, and the right to tell a story from outside the room where its rules are made. Belkis Ayón’s La cena (The Supper), 1988, spreads a ceremonial meal across a brilliant pink field. Ten stylized, mouthless figures overlap in two rows around a long black table. Their bodies are fields of color and pattern: deep blue, burgundy, ochre, green, yellow, orange and black. White almond-shaped eyes puncture otherwise featureless faces. At lower left a tan figure hides part of the face behind one hand; a yellow figure bends intently over a dark bowl filled with bright blue fish; a green figure sits upright before a pale plate; and at right an orange figure leans across a dish holding a long fish. Small bowls, gourds, vessels and branches line the table like ritual objects. Fine incised marks and patterned surfaces complicate the flat, poster-bright color. Made while Ayón was still a student, La cena was first shown publicly in 1988 at Havana’s Galería Servando Cabrera. She built the huge scene from separately printed collagraph sections, pushing a print medium associated with the dimensions of a press toward mural scale. The composition brings different sacred languages to one table. Ayón connected the Abakuá initiation banquet, Iriampó, with the Christian Last Supper, but shifted authority inside both traditions. She explained that the dinner is populated chiefly by women, with only two men. Later scholarship identifies Sikán, the lone woman at the center of Abakuá’s founding myth, as taking the symbolic place occupied by Christ in the Christian model. The silence is visual as well as historical: these figures have eyes but no mouths, a device Ayón associated with women’s exclusion from Abakuá ritual speech. Ayón was not satisfied with this color version. For her 1991 graduation work she remade the composition in black, white and gray, finding those tones better suited to its existential drama. This radiant first version lets us see the moment before that decision, when her scale, mythology and visual rebellion were already fully underway. Belkis Ayón’s Nlloro (Weeping), 1991, is a monumental nine-sheet black-and-white collagraph shaped like a dark, irregular arch. A pale deceased body lies horizontally across the lower right, almost luminous against the black ground. Around it, a dense gathering of mouthless figures emerges through wildly different skins of gray: scales, dots, mottled grain, leopard-like spots and fine ritual markings. At far left a figure carries a drum. Near the body, a white cross cuts through the darkness. On the right, a towering black spirit raises white arms into a pointed shape above its head; its body is covered with linear symbols. Only eyes break many of the faces, making the crowd feel simultaneously watchful, mournful and unknowable. “Nlloro” means weeping and names an Abakuá funerary rite performed after the burial of an ekobio, a religious brother. Ayón did not document it as an ethnographer. She altered the ritual’s order, placing the dead man visibly at the center in a configuration scholars compare with a Cuban Catholic wake. Estate and museum research identifies the drum-bearing figure at the far left as Mpegó, priest of the signs, responsible for drawing anaforuanas, or sacred graphic marks, during ceremonies. The marked black figure at right is the spirit Anamangüi, charged with guiding the deceased spirit upward. That fusion is essential to Ayón’s method. Abakuá provided a structure, but Christian iconography, Cuban experience and her own imagination entered the image with it. By 1991 she had also abandoned her earlier bright color. Using cardboard matrices built from papers, sandpaper, carborundum, gesso and other humble materials, she produced an extraordinary range of blacks and grays, then aligned nine printed sheets into one 215-by-300-centimeter scene. The result is not a secret ritual “revealed.” It is Ayón’s authored mythology of grief, passage and power, made on a scale that turns printmaking into an environment the viewer must physically face.
October 18, 2026 at 2:06 AM
plateinkpaper.bsky.social
"Returning" - a 10" x 10" collagraph + monotype on Hahnemühle paper. This will be part of the 2026 PrintFest show at GaGallery in Portland in a few weeks. More on that later. Collagraphs give such wonderful textures!
#printmaking #collagraph #pnwartist #monotype
October 16, 2026 at 6:28 PM
curation-lab.bsky.social
Strong archival portrait contextualizing Ayón within her monumental collagraph. The post thoughtfully frames her conceptual concerns, though the image itself is documentary rather than a standalone artwork. | Selected by @curation-lab.bsky.social
October 18, 2026 at 2:04 AM
iduhouse.bsky.social
🖤 Artist of the Day: Belkis Ayón

Belkis Ayón turned silence into a visual language. Through collagraphy and layered textures, she reimagined Abakuá mythology around Sikán, exploring gender, power, sacrifice, spiritual life, and memory.

#CreatorsAtWork #Skystorians #BlackSky #BlackSkyArt #Art
Belkis Ayón stands with her arms folded before a section of her monumental color collagraph La cena (The Supper), made in 1988. She wears a sleeveless white T-shirt printed “CUBA 513,” small earrings, and short natural hair, looking slightly past the camera with a half-smile. Behind her, the artwork fills the frame: mouthless human figures in electric pink, blue, green, yellow, red and tan gather around a black table, their almond-shaped eyes floating in mask-like faces. One yellow figure bends over a bowl of blue fish while another raises a hand to its face. The photograph matters because artist and breakthrough work occupy the same frame. Ayón was still a young art student when she made La cena, one of her first monumental collagraphs. Collagraphy begins with a plate built like a collage: papers and textured materials are attached to cardboard, inked, and run through a press. To escape the press’s size limit, Ayón printed separate sections and joined them into an image large enough to confront the viewer almost bodily. She had begun researching Abakuá mythology as a student, despite being excluded from the all-male Afro-Cuban brotherhood whose stories fascinated her. Rather than illustrate its oral traditions literally, she invented a visual language for them and centered Sikán, the woman whose discovery of the sacred fish Tanze leads to her silencing and death. Ayón later described herself, like Sikán, as an “observer, intermediary and revealer.” La cena became a hinge in that project. Ayón was dissatisfied with this bright version and reworked the composition in black, white and gray by 1991, the palette that would define her mature work. Here, before that turn, we see the creator literally standing inside the world she was building. Belkis Ayón’s Nasakó inició (Nasakó Initiated), 1986, is a horizontal early collagraph dominated by three colors. A tall black, mouthless figure stands at the center with arms stretched wide and pale eyes turned slightly upward. White ritual markings sit on the torso and pelvis. Across the white ground behind him, rows of rough red fish swim laterally like a repeated current. Four squat yellow figures patterned with irregular black spots bend low on either side, their rounded heads dropped toward the ground; each has a dark circular opening near the base. The forms are flat, graphic and almost emblematic, yet the uneven printed textures keep every body from becoming a simple silhouette. This is Ayón near the beginning of the language that would occupy her career. Her first works on Abakuá date to the mid-1980s, while she was still a student. Nasakó is the diviner and principal religious figure in the origin story as Ayón studied it: when Sikán encounters Tanze, the sacred fish whose voice carries spiritual power, Nasakó binds her to secrecy. The fish repeated behind him therefore belongs to the story’s struggle over knowledge, authority and who is permitted to possess either. The palette also reveals an Ayón many viewers never meet. Before her famous blacks, whites and grays, she worked in strong blocks of color and geometric compositions; scholarship on this early period connects those planes of color to Cuba’s vigorous graphic-poster tradition. Even here, though, she is not simply illustrating ritual. She is designing an iconography for a tradition with little figurative imagery available to her, translating oral myth through printmaking and her own imagination. Six years before her mature monumental works, the essential questions are already present: secrecy, gender, power, sacrifice, and the right to tell a story from outside the room where its rules are made. Belkis Ayón’s La cena (The Supper), 1988, spreads a ceremonial meal across a brilliant pink field. Ten stylized, mouthless figures overlap in two rows around a long black table. Their bodies are fields of color and pattern: deep blue, burgundy, ochre, green, yellow, orange and black. White almond-shaped eyes puncture otherwise featureless faces. At lower left a tan figure hides part of the face behind one hand; a yellow figure bends intently over a dark bowl filled with bright blue fish; a green figure sits upright before a pale plate; and at right an orange figure leans across a dish holding a long fish. Small bowls, gourds, vessels and branches line the table like ritual objects. Fine incised marks and patterned surfaces complicate the flat, poster-bright color. Made while Ayón was still a student, La cena was first shown publicly in 1988 at Havana’s Galería Servando Cabrera. She built the huge scene from separately printed collagraph sections, pushing a print medium associated with the dimensions of a press toward mural scale. The composition brings different sacred languages to one table. Ayón connected the Abakuá initiation banquet, Iriampó, with the Christian Last Supper, but shifted authority inside both traditions. She explained that the dinner is populated chiefly by women, with only two men. Later scholarship identifies Sikán, the lone woman at the center of Abakuá’s founding myth, as taking the symbolic place occupied by Christ in the Christian model. The silence is visual as well as historical: these figures have eyes but no mouths, a device Ayón associated with women’s exclusion from Abakuá ritual speech. Ayón was not satisfied with this color version. For her 1991 graduation work she remade the composition in black, white and gray, finding those tones better suited to its existential drama. This radiant first version lets us see the moment before that decision, when her scale, mythology and visual rebellion were already fully underway. Belkis Ayón’s Nlloro (Weeping), 1991, is a monumental nine-sheet black-and-white collagraph shaped like a dark, irregular arch. A pale deceased body lies horizontally across the lower right, almost luminous against the black ground. Around it, a dense gathering of mouthless figures emerges through wildly different skins of gray: scales, dots, mottled grain, leopard-like spots and fine ritual markings. At far left a figure carries a drum. Near the body, a white cross cuts through the darkness. On the right, a towering black spirit raises white arms into a pointed shape above its head; its body is covered with linear symbols. Only eyes break many of the faces, making the crowd feel simultaneously watchful, mournful and unknowable. “Nlloro” means weeping and names an Abakuá funerary rite performed after the burial of an ekobio, a religious brother. Ayón did not document it as an ethnographer. She altered the ritual’s order, placing the dead man visibly at the center in a configuration scholars compare with a Cuban Catholic wake. Estate and museum research identifies the drum-bearing figure at the far left as Mpegó, priest of the signs, responsible for drawing anaforuanas, or sacred graphic marks, during ceremonies. The marked black figure at right is the spirit Anamangüi, charged with guiding the deceased spirit upward. That fusion is essential to Ayón’s method. Abakuá provided a structure, but Christian iconography, Cuban experience and her own imagination entered the image with it. By 1991 she had also abandoned her earlier bright color. Using cardboard matrices built from papers, sandpaper, carborundum, gesso and other humble materials, she produced an extraordinary range of blacks and grays, then aligned nine printed sheets into one 215-by-300-centimeter scene. The result is not a secret ritual “revealed.” It is Ayón’s authored mythology of grief, passage and power, made on a scale that turns printmaking into an environment the viewer must physically face.
October 18, 2026 at 2:04 AM
library.loudoun.gov
Brett's next workshop: Mixed Media Collages
Saturday, Oct. 24, at 11 a.m.
Brambleton Library

Brian's next workshop: Collagraph Prints
Friday, Oct. 30, at 11 a.m.
Rust Library
October 14, 2026 at 1:52 PM
trahias.bsky.social
Sarah Morgan (British Printmaker)
"The Morning Meeting", 2024.
Collagraph Print on Paper, 35 × 50 cm.
#art #painting #artist #BlueSkyArt
October 6, 2026 at 4:03 AM
trahias.bsky.social
Sarah Morgan (British Printmaker)
"Wild Flower Meadow", 2024.
Collagraph Print on Paper, 35 × 50 cm.
#art #painting #artist #BlueSkyArt
October 6, 2026 at 3:49 AM
trahias.bsky.social
Sarah Morgan (British Printmaker)
"The Lines Are Busy", 2025.
Collagraph Print on Paper, 35 × 50 cm
#art #painting #artist #BlueSkyArt
October 5, 2026 at 3:44 AM
miketoons.bsky.social
The results of a very quick (just 3 hours) tutorial on Collagraph printmaking given by the wonderful Jenny McCabe at the Storey in Lancaster. Three 9cm squares of card, cut into, scratched, embossed with sections covered in aluminium tape made the printing blocks for this. Great fun.
The results of my first efforts at Collagraph printing. A three panel exercise, each panel approximately 9 centimetres square, the left hand square is printed in a deep orange/brown, the right hand panel in pale turquoise blue and the centre panel in a combination of the two colours.
October 2, 2026 at 9:17 AM
kitboyd.bsky.social
My collagraph Domain of the Kite is the cover for this new edition of Under Milk Wood by
Dylan Thomas.

It's based loosely on Aberystwyth, and was made in the Old College on the seafront there with Aberystwyth Printmakers in 2019.

And now it is Llareggub.
September 30, 2026 at 5:47 PM
evelynelotz.bsky.social
Marita Sambono Art ‘ Mermaids ‘
Limited Edition Print.
Collagraph & Screenprint

10 th Edition.

55 x 39 cm

Paper Hahnemühle

2023

Basil Hall Editions Print.

Marita Sambono is an established artist from the Nauiyu community; Daly River region & is a member of Merrepen Arts.
September 26, 2026 at 6:52 PM
rivermanrob.bsky.social
‘Morning Caroline and ORCs. Yesterday, in the studio, was not a success. I messed up the printing from the collagraph plate I’d been working on for 2 studio sessions. Need to decide if to register for yr 2 (of 3) or defer. Although I’ve managed to get to all the taught sessions I’ve missed so much
September 25, 2026 at 6:25 AM