Recent Exhibits at WPG
October 2018 Solo Show “INK GAME, HA” by Mike Hagan. Click here for details of Mike’s October, 2018 solo show.
October 2016 Solo Show “Dark Gutter” by Mike Hagan. Click here for details of Mike’s October, 2016 solo show.
About Michael Hagan
Selected Printmaking Activities
• Current member, recent Treasurer, previous President (2006 to 2009), Washington Printmakers Gallery
• Executive board member, Washington Print Club
• Contributing artist, Glover Park “Callbox” Project
Education, Selected Exhibitions
• Certificate in Printmaking, The Corcoran College of Art and Design, December 1995.
• Post-certificate work with Georgia Deal and Dennis O’Neil through the Corcoran.
• Exhibitions with Corcoran faculty, students, and others in annual Printmaking Portfolio group shows, 1995-2002.
• National Small Works, juried exhibition, Washington Printmakers Gallery, Washington D.C., August 2006.
• “60/60,” solo exhibition, September 2008, Washington Printmakers Gallery.
• “Some Like It Hot,” juried exhibition, postcard selection, July 2010, Gallery 10, Washington D.C.
• “Tessellations, Tentacles & Tattoo,” solo exhibition, October 2013, Washington Printmakers Gallery
• “Dark Gutter,” solo exhibition, October 2016, Washington Printmakers Gallery.
Prints Held, Community Activities
• Prints are held by The Corcoran Gallery of Art, Gallery K estate, U.S. Library of Congress, and private collectors.
• Prints have been part of local community, national, and international initiatives including:
• Glover Park’s Stoddert Elementary School
• American Diabetes Association
• Health Volunteers Overseas.
For more images and other information about the artist, visit Michael’s website at http://www.haganprints.net.
He is also on Facebook at Michael Hagan Screenprints.
All artist proceeds from sales of Michael Hagan’s prints through Washington Printmakers Gallery go directly to HEALTH VOLUNTEERS OVERSEAS, a non-profit organization improving global health through education. WWW.HVOUSA.ORG (202) 296-0928.
My matrix is my brush. Printmaking matrices (blocks, stones, plates, and screens) are complex tools. However, the essential purposes of these tools are to acquire and hold pigmented materials and to apply them to substrates (e.g., paper). Thus, these tools are exactly equivalent to brushes, pens, and pencils, all of which are graphic tools used to acquire and to hold various pigments and apply them to canvas, paper, etc.
Between dot and not. In making a pen and ink drawing there are choices between putting solid marks on the paper or leaving the paper completely clear, i.e., the artist can scumble, cross-hatch, and stipple. These are essentially half-toning techniques to get “grey” values between pure pigment and pure paper. Current technologies bring new precision, speed, and opportunities to the very similar role of half tones in hand pulled printmaking. Half tones not only carry tonal changes in printed images but also, when apparent, are intrinsically interesting repeated forms, exposing the printmaking process to the viewer.
Repetition, repetition, repetition. Critical to composition, repetition is a primary strength of printmaking. If you want to repeat textures, patterns, and imagery in precise and efficient ways, then you want to be printing. New technologies allow for precision and speed in printing while still retaining the major advantages of the hand pulled print.
There and here, then and now, and metaphors. My screen-printed images refer to other printmaking methods (e.g., textiles, woodblock), earlier times, and other cultural contexts (e.g., Japanese ukiyo-e, Renaissance, and Pop Art). Now, traditional printmaking combined with new technologies can efficiently and precisely employ traditional and custom half tones, textures, tessellations, patterns, and unique, flat, complex, or “exploded” colors. Visually apparent half tones in my prints (i.e., dots, lines, and custom shapes) are also metaphors for commercial printmaking, for current culture, and for new technology.
Why pull prints by hand? The main advantage for me in hand-pulled printing is total control over color and inks. Inks used in inkjet printers and commercial offset lithography (i.e., process cyan, magenta, yellow, and black) do not give sufficient choice and control to printmakers who emphasize pure, flat, and non-simulated colors, or color theory, or ink modifications, or alternative printmaking materials (e.g., metallic inks).
Click this thumbnail image to see it larger. To return here, click on the “x” in the upper right of the slide show, or press the ESC key of your keyboard.