JUNE 3-28, 2015
During the past few years Ron Meick’s work has incorporated common objects in his construction of relief prints. Many of these objects by themselves carry associations with a physical past that is slowly disappearing. Meick then transforms them, using traditional woodcut & monotype techniques to reveal other implications, ideas, characterizations, or personal meanings.
Just as these hand tools and objects harken back to past traditions, so Meick’s use of the woodcut print links us to a non-digital world that is slowly being lost to the virtual experience. Together prints and artifacts provide physical evidence of the artist’s reflection on function, imagery and nature of the object.
Review by Mark Jenkins in Washington Post, June 19, 2015:
“Printmakers fashion three-dimensional matrices to transfer ink to one-dimensional sheets of paper. But Ron Meick won’t let go of the original object, which is seldom a flat rectangle of wood or metal. His show at Washington Printmakers Gallery, “Ar-Ti-Facts,” exhibits the carved mold alongside its printed result, sometimes combining the two in a single piece. “Axiom Object,” for example, nestles a small axe, its handle distinctively etched, next to an impression made from it.
“The Delaware artist works with such commonplace items as a hangar, a brush and a carpenter’s level. (The last he puts, winkingly, at the center of a print that is hung on an angle.) Some things, such as the one that gives “Investigation of a Bar Stool” its title, are too big to fit inside the frame. Yet Meick manages to turn the seat into a sort of oversize stamp, akin to the ones used to imprint an Asian artist’s seal. Spotlighting the process by which artworks are made can be pedantic, but not in this witty show. Form and function blur entertainingly as Meick loops from 3-D to 1-D and back.”