2012 Alumna: Jack Arthur Wood

Where are you working, where are you living, what is your favorite ice cream flavor?

I am working at Everything But The House which is an estate sales auction house that is based in Cincinnati but has recently opened branches in Lexington, KY, and Connecticut. I work there part time and catalog a great deal of the art that comes through here. I write about everything from John Ruthven offset lithos, to Rembrandt reproduction prints. I am also the artist in residence at Tiger Lilly Press in Price Hill, which is across the viaduct on the west side of Cincinnati.
I live in Northside which is in my personal opinion the best community Cincinnati has to offer. I used to work for my landlord, and have sold veggies at the Northside farmers market. I know a lot of my neighbors, and generally have things to do on the weekends. It’s nice to see people I know everywhere I go.
My favorite Ice Cream is Graeter’s Black Raspberry Chip.
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Your work during the last couple of years at Guilford depicted                                                                                            
retellings of specific gods, goddesses, demons, etc., and the
narratives attached to them.  Is this still an avenue you’re
continuing to explore?

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Yes, I just finished an appropriation of Narasimah. It is one of the more content heavy pieces I’ve produced, and seems to have been well received. It’s covered in vaginas. I printed the edition at Inkslingers 2013, which took place at WTAMU in Amarillo, TX.

You enlisted in renowned printmaker, Tom Huck’s bootcamp program last summer, did this experience affect your process/outlook/ethic? If so, how?
Yeah, it definitely changed my life. I don’t think I’ve ever consumed that much beer in a single week. Not even during Serendipity. I don’t think I’ve ever been that sleep deprived either. Printmakers love to party, but they are deadly serious about the work. Huck’s a cool guy. His energy is contagious, and he’s making some of the best work in the business, and shows no signs of slowing. I think that more than anything though I meta lot of people at WBC (woodcut bootcamp). The relationships I formed there have allowed me to begin traveling to printmaking events, and because of this, I have been able to check out a lot of the graduate programs I’m interested in applying to. I am also organizing a Print Portfolio exchange that involves a lot of Guilford people, WBC friends, and a whole lot of printmakers I’ve met since then. I don’t think I ever would have decided to organize the exchange hadn’t it been for WBC.

What is the role of text in your imagery?
The text I use in my images is nightmarespeak. The words in my prints are excised from the memories of traumatic nightmares I had until I was 13. They are called “night tremors,” by the Mayo Clinic. The emotions foisted on me by those terrible dreams are still the most pungent I have ever felt. Most of my text comes from that place.

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What traits inspire you/grab your attention when looking at artwork
that isn’t your own?

I feel like one of the best things Guilford gave me was an eye for bull shit. I look for honesty first, I like to see accountability too, and what Roy refers to as optical intensity. It’s got to be hypnotic, and can’t be faking it. There should be something personal about it. I want to see real emotion when I look at art. I want to further understand something about the world when I look at art. Voyeurism, social commentary, folk art, religious art, and activist art is all stuff I appreciate. I watch “Beautiful Losers,” and the Francis Bacon documentary, which they made around the time of his second

retrospective at the Tate, fairly obsessively. Both of those movies have a lot of good things to say about art. I could write a book about this question, and will stop talking about it now.
3 printmakers everyone should check out as soon as possible:
485276_263691697096155_918552037_nEricka Walker, Rie Hasegawa, Michael Krueger, Tyler Krasowski and Tugboat Press. Also Vermillion Editions Ltd. and Burning Bones Press. I could give you so many more names. I discover someone new to be excited about on a daily basis. I refuse to believe people when they tell me that printmaking is a small world. Printmakers, and the spirit of, are abundant, look out!

Final thoughts/What do you love about printmaking?

I miss Guilford a lot, but also like it out here better. The best thing about college is that it never really gets lonely. I love printmaking because as a community we are bound together by our processes. Our methods of making are archaic and little known on a mass scale. Therefore we are forced to fiercely share with one another. I love the community, though it be divided and cliquey like a high school. It really is a beautiful thing. I’m proud to be a part of it. 
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