Prints by

S t e p h a n i e M e r c a d o

 

Paper Doll Press – 5101 Monte Vista St. – Los Angeles – CA - 90042

The world is but a canvas to the imagination.

-Henry David Thoreau

Terre, drypoint with chine-collé, Ed. 3, 15 x 15”

Untitled, drypoint with chine-collé, Ed. 5, 11 x 10”

Fall, drypoint with chine-collé, Ed. 4, 15 x 11-1/4”

Untitled, drypoint with chine-collé, Ed. 4, 14-3/4 x 11-1/4”

Untitled, drypoint with chine-collé, Ed. 1/1, 11 x 10”

Love Letter Paper Cut, drypoint, Ed. 30, 13-3/4 x 10-1/4”

The Tea Party, drypoint, Ed. 30, 13-3/4 x 10-1/4”

Prayer Under Pressure, drypoint with chine-collé, Ed. 4, 15 x 11”

Alice, drypoint, Ed. 10, 7-1/2 x 6-1/2”

Time, drypoint, Ed. 10, 10 x 9”

The Silence Between Us, drypoint, Ed. 30, 13-3/4 x 10-1/4”

Big Empty, drypoint, Ed 10, 12 x 10”

The Organ, drypoint, Ed. 12, 10 x 9”

The Wandering Eye, Ed. 12, 16-1/2 x 12-1/2”

Untitled (magician), drypoint, Ed. 10, 15-3/4 x 12-1/2”

Untitled (octopus), drypoint with chine-collé, Ed. 7, 18 x 14”

Weathervane, drypoint with chine-collé and gouache, Ed. 1, 11-3/4 x 9-1/4”

Like Swimming Horses, drypoint with chine-collé, Ed. 8, 14-3/4 x 18-1/2”

Carta Marina, drypoint with chine-collé, Ed. 3, 11 x 10”

PAPER DOLL PRESS : STEPHANIE MERCADO

SOLO EXHIBITIONS 2012 Land of Plenty, SPACE, South Pasadena, CA, January 2012 2010 All This and Heaven Too , Underground Gallery, Echo Park, CA, October 2010 SELECT GROUP EXHIBITIONS 2013 Summer Group Show , Lora Schlesinger Gallery, Santa Monica, CA July – August 2013 Serie Print Project XX , Mexic-Arte Museum, Austin, TX June 2013 7 Beauties, Avenue 50 Studio, Los Angeles, CA May 2013 2012 Small Paintings , Lora Schlesinger Gallery, Santa Monica, CA March 2012 2011 De La Mano, Bakersfield Museum of Art, Bakersfield, CA December 2011 Driven by Content, Avenue 50 Studio, Los Angeles, CA, December 2011 Colonialism, The Collective Unconscious William Grant Still Art Center, Los Angeles, CA October Doors and Passages, Loretta Howard Gallery, New York, NY, September Tel-Art-Phone, Beacon Arts Building, Los Angeles, May 2011 L.A. Grafica , La Mano Grafica, Los Angeles, March 2011 Hearts and Flowers, The Folk Tree, South Pasadena, CA, February 2011 2007 - 2010 small works, Lora Schlesinger Gallery, Santa Monica, CA, December 2010 Women on the Verge , Avenue 50 Studio, Highland Park, CA, July 2010 Raving Art Women, Brewery Art Colony, Los Angeles CA, May 2010 One Hundred One Thousand , Look Gallery, Los Angeles CA, February 2010 Pieces from the Collection , Underground Gallery, Los Angeles, CA , January 2010 Tepeyac Apparit ions , Mexican Cultural Institute, Los Angeles, CA, December 2009 Calavera Fashion Show, Tropico de Nopal Gallery, Los Angeles, CA, November 2009 Home, South Pasadena Arts Center, South Pasadena, CA, November 2009 Awaiting Transformation, Mexican Cultural Institute, Los Angeles, CA, October 2009 Locals Only, Look Gallery, Los Angeles, CA, June 2009 Los Inbetweens, Avenue 50 Studio, Los Angeles, CA, April 2009 Spread the Ink, Happy Dog Gallery, Chicago, IL April 2009 Five Excursions of Love, Mid-City Art Gallery, Los Angeles, CA, February 2009 Ritual Duality, A Dance with Death, Mexican Cultural Institute, Los Angeles, CA, November 2008 Urban Birds, South Pasadena Arts Center, South Pasadena, CA , November 2008 Abra Macabre, Pershing Square Public Art Installation, Los Angeles, CA, October 2008 “1 + 1”, Avenue 50 Studio, Highland Park, CA, July 2008 Love Life Lust, La Mano Press, Los Angeles, CA, February 2008 Prints Gone Wild, Missouri Museum of Contemporary Art, St. Louis, MO, February 2008 8 Under 28, Gallery C, Hermosa Beach, CA, January 2008 Nightmares and Landscapes, Avenue 50 Studio, Los Angeles, CA, July 2007 Insights, University Art Museum, California State University Long Beach, Long Beach, CA, May 2007 Bachelor of Fine Arts Exhibition, Werby Gallery, California State University Long Beach, Long Beach, CA, April 2007 Endangered Species Endangered Planet, Simon Fraser University Gallery, Burnaby, British Colombia, Canada, March 2007

PAPER DOLL PRESS : STEPHANIE MERCADO

RESIDENCIES Serie Print Project, Coronado Studios, Austin, TX , 2013 Independent study, Rome, Italy, 2008 PUBLICATIONS A Snow White Story, Turned on it’s Head, Carol Es, Huffington Post, May, 2013 Glass Tire, Austin TX February, 2013 CRATE Magazine, University of Riverside, January 2013 South Pasadena, Highland Park Patch, January 27, 2012 Pasadena Now, January 14, 2012 LOUD Mouth Magazine, Issue 18, Cover Art, January 2011 Haiku Review, Mat Gleason, Huffington Post, October 2010 Rococo Love Triangle, Meagan Boyd, The Examiner, October 16, 2010 Women on the Verge , Richard May, Artillery, August 1,2010 Racked, Grave Glamour at the Calavera Fashion Show, Lisa Boosin, November 10, 2009 Los Inbetween Review , Holly Myer, Los Angeles Times, April 24, 2009 Where Young Artists can Leave Their Imprint , Mindy Farabee, Los Angeles Times, February 28, 2008 EDUCATION California State University Long Beach Long Beach, California Bachelor of Fine Arts Drawing and Painting Graduated, 2007 California State University International Florence, Italy Drawing and Painting International Program , 2006

PAPER DOLL PRESS : STEPHANIE MERCADO

p ic tu red above : p lex ig la s s p la te engraved w i th a bu r in

PRINTMAKING – NOTES:

Al l p r in ts dep ic ted a re hand pr in ted by the a r t i s t on a rch iva l R ives BFK paper . Each pr in t i s ed i t ioned and s igned.

INTAGLIO: comes from the Italian word intagliare, meaning, “to incise.” In intaglio printing, an image is

incised with a pointed tool or “bitten” with acid into a metal plate, usually copper or zinc. The plate is

covered with ink and then wiped so that only the incised grooves contain ink. The plate and a dampened

sheet of paper are then run through a press which applies pressure to create the print. Usually the paper

sheet is larger than the plate so that the physical impress of the plate edges, or the platemark, shows on

the paper. The ink on the print tends to be slightly raised above the surface of the paper.

The intaglio family of printmaking techniques includes engraving, drypoint, mezzotint, etching, aquatint,

and spitbite aquatint.

DRYPOINT: prints are created by scratching a drawing into a metal plate with a needle or other sharp

tool. This technique allows the greatest freedom of line, from the most delicate hairline to the heaviest

gash. In drypoint the burr is not scraped away from the surface but stays on the surface of the plate to print

a velvety cloud of ink until it is worn away by repeated printings. Drypoint plates (particularly the burr on

them) wear more quickly than etched or engraved plates and therefore allow for fewer satisfactory

impressions and show far greater differences from first impression to last.

ENGRAVING: is a process in which a plate is marked or incised with a tool called a burin. A burn works on

a copper plate like a plow on a field. As it is moved across the plate, copper shavings, called burr, are

forced to either side of the lines being created and these are usually cleaned from the plate before inking.

An engraved line may be deep or fine, has a sharp and clean appearance and tapers to an end. The

process is slow and painstaking and generally produces formal-looking results.

MATRIX: From the Latin word mater, meaning mother, the matrix is a surface, a woodblock, a metal plate,

a lithographic stone or a mesh screen for example, on which the image to be printed is prepared.

NUMBERING / EDITIONING: The numbering of individual impressions of prints can be found as early as

the late nineteenth century. However, it did not become standard practice until the mid 1960’s. Today, all

limited edition prints should be numbered, with the first number being the impression number and the

second number representing the whole edition, thus 12/50, impression number 12 from an edition of 50.

The numbering sequence does not necessarily reflect the order of printing; prints are not numbered as they

come off the press but some time later, after the ink has dried. And one must keep in mind that the edition

number does not include proofs (see proofs), but only the total in the numbered edition. CHINE-COLLE: A method of printing in which an image is printed on a thin sheet of paper (usually a different color) and the thin sheet is mounted on a backing sheet during a single pass through the press. The term also describes the process of using a press to mount paper or other collage material such as cloth to a backing sheet, sometimes with printing, patters or designs on it.