Get Ready

Lino cut (70Ă—100), 2016

This work is about every day people who work hard and make things happen.
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    • |   by Uji Venkat   

      I love your interpretation and portrayal of the working class. The city is crushed under the faith, force, and work of one shoe. We often forget how integral each person is, the impact that their efforts have on the world around them. In a world of 7.5 billion people, we forget that each person means the whole world to someone. The high contrast of the print conveys this as a revelation.

      Your linocut is beautifully detailed. The strained, veiny hands tying sturdy boots characterize working hands. Did you intend for the role to be one of power? The sheer size of the hands towering over the city illustrates a higher power. Their dissension from the sky seems almost ethereal.

      I’m also very interested in your framing and process. Was the edge the shape of your linoleum block or the cut of your print? How long have you been doing linocuts? Did you start with drawing? If so, you have embraced the negative, carving out instead of drawing in.

    • |   by (Sam) Arcelio Timoteo Langa   

      Thank you Uji. I love the way you viewing the work. Yes this work shows the significance of people in different fields. I think everyone has a role in this world. I cut and shape my plates to look like an old book page. I start by drawing and remove negative. I started lino cut 2013 in my first year at Artist proof studio.

    • |   by Uji Venkat   

      I’m captivated by the contrast of the the dark background with the sense of empowerment you are giving the individual as an integral part of society. It is an emergence of one soul from the concealment of the masses.

       

      This encourages not only sympathy from the viewer, but also a connection to the subject. There is a common struggle in the mutual desire to be seen.


      Is it difficult to imagine what the negative of your original sketch will look like? Do you start the drawing with the positive and negative / light and dark distribution of the end product in mind? Your other pieces have more white space. How intentional was the darkness in this piece at the start of your project? If deliberate, what was your reasoning for keeping it dark?

    • |   by (Sam) Arcelio Timoteo Langa   

      Hi Uji. You can check The build up of some of my lino work on Instagram ( samdjedjeart) but I draw with a pencil then I scoop only white parts. The dark back round brings the balance. What they call push and pull in art.

    • |   by Uji Venkat   

      Thank you, Sam. I love the print titled “The Light” with the candles melting in the hands! The intricacies of textures and demonstration of depth are stunning. Your works seem to be based on a two color scheme, or rather white and a dark color, and then the hues in between. Thus, your works seem to center in mostly high contrast images. Many of your drawings utilize darkness as well. It is interesting that your drawing style matches your print style more than vice versa.