Raven Included in Special Edition of “When Things Fall Apart”

The Tay’nahza’ monotype EVERY TIME A WAVE BREAKS, A RAVEN JUMPS will be included in a special edition of WHEN THINGS FALL APART by Pema Chodron to celebrate her 80th birthday in July. Publisher: Shambahla Publications.

 

 

 

 

 

 

 

EVERYTIME A WAVE BREAKS, A RAVEN JUMPS
monotype 1999
Linda Tay’nahza

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FULL CIRCLE

The Steamboat Blog
Printmaking
Oehme Graphics
Steamboat Springs, Colorado

A little one-room log cabin just a few feet off the Yampa River was home for a ski season forty years ago in Steamboat Springs, Colorado.  There are memories of skiing the bumps and fresh powder of Mount Warner just about every day of the season.  It was the beginning of a “life in the mountains” lifestyle that has shaped the days since!

Some thirty years ago I discovered my love of printmaking, the monotype becoming my constant companion!

Steamboat Springs and printmaking collided about three years ago when a full color, full-page ad featuring the Yampa River and announcing Oehme Graphics printmaking studio in Steamboat caught my attention in a magazine.

Wow! Very cool! Hadn’t thought of revisiting Steamboat until then.

Followed news of Oehme Graphics online and noticed last fall a schedule for Sunday workshops being offered.  Once a month, a Sunday workshop offering a different printmaking technique!  I selected three processes I had long wanted to try, dry point in April, collograph in June and watercolor on polymer in July.

Sue Oehme is owner & director of Oehme Graphics and master printer extraordinaire!  With each workshop she shared her in depth knowledge of printmaking processes.  She also shares her enthusiasm for the tradition of printmaking and interesting stories of her personal history as a printmaker!

It was a pleasure and rare treat to work with her!  The studio is well organized, full of the activity of students and studio assistants!

Go to Oehmegraphics.com for more information!

Returning to Steamboat Springs was also lots of fun! “A River Runs Through It” and much activity centers along the Yampa!  The hot springs downtown are an invitation to relax.
Time spent in the Botanical Gardens was lovely!  Steamboat Springs is a bustling, friendly mountain community.  Now, I look forward to returning for another Sunday session at Oehme Graphics, get a hike into the falls and ski Mount Warner again!

 

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The Spiral Jetty

Work: The Spiral Jetty
Location: The Great Salt Lake
Artist: Robert Smithson
Medium: Earth
Construction: 1970

The Spiral Jetty is the signature Earthworks construction of Robert Smithson. The concept for the Spiral Jetty was bold and cutting edge in 1970. Smithson was a pioneer with the undertaking of the Spiral Jetty, which brought the attention of the art world to the northeast shore of the Great Salt Lake in Utah.

Taking I 15 North from Salt Lake City to 84 West the route includes two other historic sites along the way, The Big Fill and Golden Spike. Both are related to the building of the Continental Rail Road. These locations maybe stories for another time. I ate my picnic lunch, took a quick tour of the Golden Spike National Monument Museum and headed out to the Jetty.

The road to the Spiral Jetty begins at the south exit of the museum parking lot. It is 15.5 miles of gravel washboard! Bouncing along the road I noticed only two signs indicating direction. One is at 10 miles and another at the nine-mile turn. I drove slowly on the rolling road but still kicked up a lot of dust. There is a tiny view of the Great Salt Lake in the distance. I looked out on the dry and crusty soil, which was once the lake bottom of ancient, prehistoric Lake Bonneville. Weathered cattle grazed on and just off the road. I wondered what took Robert Smithson on this path to a remote location.

The road curves suddenly and there is the lakeshore and Rozel Point. Not far ahead is the Spiral Jetty, and roads end. Pulling over to the right, I park in what has become a roundabout. There are two other cars parked. From one car two women and a baby are heading out to walk the Jetty. From the other car a man is climbing the basalt ridge above. I start up the ridge with my good traveling dog Sadie to get a fuller view. The man is close to the top of the rise and looking up. In the clear, cobalt sky above, huge white pelicans ride in mass on the wind. A sound breaks the silence of the wind. I turn and am startled to see pelicans gliding just above me in V formation, so close it seemed I could touch them. I grab for my camera, but only catch a glimpse as they quickly have become distant and a flash of breathtaking memory.

I now have a panoramic view of the Spiral Jetty, The Great Salt Lake, the Wasatch mountains to the east, and the cobalt-blue sky. The view and the silence. I feel my breath shift with the rhythm the of natural environment. A slow deep breath of renewal, peace, and of connection to place.

There is a plaque on the rise above the Jetty provided by Eagle Scouts with information about the Spiral Jetty. It tells of artist, Robert Smithson (1935-1973). He died so young. The plaque says that the Spiral Jetty is a 1,500-foot long coil, is 15 feet wide and constructed only of earth, salt crystals, basalt rocks and water. It says that sometimes the earthworks sculpture is submerged in the water of the lake. I have read that for much of its existence it has been submerged. The Spiral is in a continual process of erosion and returning to earth as it was meant to. The Spiral Jetty is now a skeleton of what was constructed 45 years ago in April 1970. I am visiting April 29, 2015.

As I stand above the Spiral Jetty I do some quick drawings, reference for later. And from this view I feel the spirit and energy of Robert Smithson. He took his concept of environmental earthwork and dug into its application and construction. It is a signature statement reflecting the shape shifting of nature.

The symbol of the spiral has many meanings. The most prominent is a marker for water. Throughout the ancient symbolism of the southwest people is the spiral indicating the location, or a path to water in the area. The coil or spiral also represented the whirlwind, the breath of life, breathing in and out; transition, and fluid movement on the physical and spiritual level. Spirals were used to mark the seasonal movement of the sun, or ascendance, emergence, submergence. For ancient artists the spiral was site specific, a powerful symbol of connection to the pulse of the natural world. For Robert Smithson, too, the spiral connects the young artist to the spirit and soul of the raw environment and to the ancient artists of the southwest in the millennium of time.

Sadie and I cross the parking area to walk the eroding skeleton of the Spiral Jetty. The women and baby are now returning on the winding corkscrew path. Sadie pauses to rest on the basalt and salty sand. Then we continue to the vortex of our daytrip, the center of the coil. It has been a beautiful and peaceful day, connecting to the Spiral Jetty and place.

 

We return to the car and slowly bounce along the washboard road. I pull over once again to allow the women with baby to pass. The up and down of the road, long views, and emptiness of the landscape on return are so appealing. Approaching the dusty cattle again, I see cowboys in an old pickup hauling water to the cows. I creep along. Soon the old pickup is behind me on the road. I pull over to let them pass and notice on a narrow hitch between the truck and water trailer are balanced two cattle dogs. They look a lot like Sadie who is now sleeping in the back of the car. The cowboys nod in passing.

I realize in leaving why Robert Smithson constructed his Spiral Jetty sculpture at the end of a gravel road on the remote northeast shore of the Great Salt Lake. The remote location of the Spiral Jetty allows an intimate experience and awareness of the unfolding of a remarkable day, a day that could be any day. I am touched by what is called The Smithson Effect.

SPIRAL JETTY, III
monotype 2015
6.25″ X 7″
$500.00 framed

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OF ROCK, WATER & TIME

Incomprehensible time line, twenty-six billion years, estimated earth age. Sixty-two million years and innumerable geologic shifts. Thirty-two thousand years ago a prehistoric lake formed in the Great Basin of North America, Lake Bonneville. For more than seventeen thousand years the water of Lake
Bonneville pressurized the lake bottom. As Lake Bonneville evaporated, and receded over time, forming the Great Salt Lake, it left a compressed residue of salt and sand, the Bonneville Salt Flats.

One hundred and fifteen miles west from Salt Lake City on Interstate 80, five miles east of Wendover, NV is the Bonneville Salt Flats Rest Area.  Pulling into the parking area there is a Toyota pick-up parked to the left of my parking space.  A father and son are unloading mountain bikes.  On the right a mother is unbuckling three small children from their seats in a white van.  I grab my lunch and call my Sadie dog to come.  We head for a covered picnic table.  Sadie finds a spot to sit and looks out across the creamy white salt flats.  I watch the two on bikes ride off across the flats until they are invisible.  The day is hazy and unusually warm for mid March.

I scan the range of mountains to the north and across the endless stretch of white to see the three small children running at quite a distance out on the sand.  They are tiny specks in motion.  Their mother stands on the ancient shoreline watching.  Lunch finished, I return Sadie and lunch box to the car and get my camera and a sketchpad.  There is a rest stop sign telling that across the flats, in front of the mountain range is Utah’s famed measured mile, where world land speed records have been set.  Glancing out across the distance the guys on bikes are heading back.  Soon they will be back in their truck and gone.  The mother with small children has returned to their van. The are getting back on the interstate with miles to go.

I walk to the place where they had been on the sand shoreline. The white sand flats are speckled with small dark pebbles.  There is a good view of the mountains from there.  I do some drawing and photography and looking down, in the sand where the mother had been standing, written in small black pebbles in the white sand is the date, 3/16/2015.

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American West

There is a story to be told of the beauty, character, spirit, fragility and resilience of the
AMERICAN WEST.  You are invited in the months ahead to join me exploring the diversity and wonder of wildlife and natural environment of western places through new prints, paintings, drawings, and story telling.  This is the first image announcing the project.  It is available as a blank card with envelope on the site marketplace!

Blank Card & Envelope
For small orders
$3.00 each
3 or more $2.75 each
shipping add $2.50

For large orders please inquire
for pricing and ship
linda@lindataynahza.com

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Winter White

“Winter White” was begun in 2012.  I worked with the canvas from time to time until November 2014 when I felt it ready for a finishing glaze.  In applying a matte acrylic varnish, I realized much of the color had been altered and metallic accents were lost! Many brands of paint were used in working with the canvas. Just one clear matte acrylic finish was used.  Somewhere in the mix there was a problem!

After sometime removed from the canvas, I have decided to continue working with it and discover what it’s next life will be.

Winter White
Acrylic on Canvas 40” X 40”
2012 to present and beyond

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Monotypes for Fitness Formula Clubs

The new co-ed spa area at Fitness Formula Club’s Flagship location – 1030 North Clark Street, Chicago, IL – will be the home for this series of monotypes, “Birds & Blooms.”

Thinking about a theme for a group of six original prints I decided to investigate native birds and flowers of the Chicago area. In doing a bit of research I encountered a wealth of possibilities. My selections were based on the potential for developing patterns from nature. Nature provides the ultimate colors and beautiful repeating patterns!

My sincere gratitude to FFC for the opportunity to produce these new prints and their continued support of my work.

Brewer’s Blackbird #2
Monotype 13″ x 13″
January 5, 2015

 

Red-Winged Blackbird
Monotype 13″ x 13″
January 7, 2015

 

Sassy Woodpecker
Monotype 13″ x 13″
January 8, 2015

 

Echinacea
Monotype 13″ x 13″
January 10, 2015

 

Blue Aster
Monotype 13″ x 13″
January 12, 2015

American Columbine
Monotype 13″ x 13″
January 14, 2015

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Upcoming Events

I’m so excited to announce the following:

Oehme Graphics
Steamboat Springs, CO

June 14, 2015 Working with Master Printer Sue Oehme in her collograpy workshop.
July 12, 2015 Returning to Oehme Graphics for summer landscape monotype workshop!

National Ability Center
Park City, UT

June 2015 Printmaking for Crusaders Camp

Kimball Art Center
Park City, UT

May, June, July 2015 Printmaking for children and teens

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Autumn Reflections

When I first created this blog, my intent was to share new art, reflect or comment with regularity. I have been distracted. With a brisk chill in the air, the colors of autumn a feast for eyes and seemingly a bit more time, I am making a new start at pulling this together.

“these precious days” was inspired by an early morning hike with a friend and dogs the first of the week. “East Peak” a small, multiple drop monotype, using water-based inks was produced last night. The turning of the season touches place and process.

East Peak by Linda Taynahza

"East Peak", Sundance Utah

 

“these precious days”

air cool
and crisp
in morning

by afternoon
the gentle warmth
of the sun
feels ripe
with perfection

the amber colors
of autumn
have arrived
as earth shifts
and turns
once more
on its path
around the
sun

sweet and savory
the moments
of this precious day

Linda Tay’nahza
Sundance, Utah
October 3, 2014



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Exhibit at National Museum of Wildlife Art

I’m so excited to have been invited to exhibit at the National Museum of Wildlife Art! Please view the video to see my prints exhibited there and learn a little about monotype.

National Museum of Wildlife Art Exhibit

 

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