The Jasper Project is delighted to present the work of visual artist Laurie Brownell McIntosh at the Jasper Gallery at Harbison Theatre at Midlands Technical College, 7300 College Street in Irmo, SC. On display from December 2023 through February 2024, McIntosh’s exhibition is currently on display and available for viewing during normal business hours and special events.
There will be a reception for the McIntosh show at 6:30 pm on January 25th during which the artist will meet and greet patrons and answer questions about her work. The artist reception is in conjunction with the evening’s performance by Ruben Stoddard and Clay Aiken. The artist reception is free to the public but tickets are required for the musical performance.
McIntosh says, “I was raised in an environment that supported and encouraged the creative process.” Continuing that, “I have discovered through the years that I don’t work like many artists do. I don’t have an exact style or medium that defines me. I work in large bodies of work that usually take years to explore. These large bodies are many times divided into series within the body. Most of these bodies of work are driven by line and shape trying to express ideas and stories through mark making, color, shape and texture.
Several times it has been a true calling from within myself... sounds corny but it’s true. This is the work that can’t be denied. Or I find something that intrigues me, something I want to explore, and then I research and pursue that avenue until I have exhausted my curiosity and then I move on. The medium I use is the one that solves the problem presented before me.
In my head I compare it to a writer who writes novels. The idea.. the reserch.. the execution.. the editing… the chapters... the final execution and the presentation of the finished pieces. Once this is done, onto the next. Almost always, within the present body of work I stumble on the next path. Almost...
I have also discovered that the quickest way to become dissatisfied with my work is to create art for people I do not know. I have to trust my gut and follow my own lead and my own truth. If I make art with the thought of what others might like, or buy, I’ve sold myself out. I will have left none of myself behind when I’m gone if I’ve spent my time trying to please others and by guessing what strangers might want.
In my newest body of work in linocut is a result of studying a new medium, navigating the isolation of the past three years and celebrating our coming out of it. My family enjoyed being together during that time, spending time gathering crabs and fish, growing tomatoes, and doing the things outdoors that we love. It kept us busy.
My family’s most treasured times are sharing that bounty with dear friends, which is reflected in the collection. Being able to gather with people again and enjoy homegrown and home-caught food, tell some tall tales, drink a cold beer, and have a laugh is what my family is all about. I hope that love of people and the land comes across in this body of work.”
In a brief interview with Jasper Magazine editor Cindi Boiter, McIntosh answered the following questions:
Jasper: I know your art often presents itself to you as something of a project and that sometimes it takes a while for that project to reveal itself to you. This seems fairly mystical to me and it's one of the things I most appreciate about your work. How does this exhibition represent where you are with this body of work? How far along the way are you? What does this exhibition mean to you at this stage of your artistic journey?
McIntosh: That’s a big ole question…I started this journey with linocut reductions towards the end of my Swimmer series and the beginnings of Covid. I love the line quality and color breakdown it brings to an image. This process is a big-time commitment and takes a lot of muscle, but the results are worth it. Added bonus is you get multiple original works. I find the carving involved to be meditative and calming which is why it was such a God send during Covid. I keep pushing the difficulty factor and I am presently experimenting with taking the outtakes and leftovers into mixed media pieces. The images that result from the bones of the plate after it has been carved to its bare minimum are fascinating. Might work…might not. I won't know until I try.
I always feel so good about showing my art in Columbia. Especially at a venue that is so dedicated to the arts with the support and backing of Jasper.
Jasper: Can you talk about your medium for this exhibition?
McIntosh: Linocut Reduction is a relief printing process in which the artist carves a reverse image in a block of linoleum. The image is inked in a single color and printed on paper. The artist then carves an additional layer, applies a different color, and prints again. Each piece must be carefully and exactly registered into place for each color pull. The process is repeated until all color layers are applied. Because the process does not allow an artist to adjust a prior layer, the process is sometimes referred to as “suicide printing.”
The artist must commit to a number of prints from the start knowing there is going to be spoilage along the way. I normally begin with 10-20 knowing I will lose 25-40% to errors along the way.
Jasper: Of the pieces in this body of work, what do you like the most and why?
McIntosh: I love the large, complicated pieces such as Henredon Heron, The Alligator King, and Git Da Net. They take so much time, muscle, and energy. I just have to be proud of them. Henredon Heron alone has over 150 hours of carving and hand printing time involved
