{"id":325,"date":"2016-12-30T00:36:08","date_gmt":"2016-12-30T00:36:08","guid":{"rendered":"https:\/\/sites.smith.edu\/printmaking-workshop-series\/?page_id=325"},"modified":"2017-09-26T14:48:53","modified_gmt":"2017-09-26T14:48:53","slug":"jiha-moon-2007-2008","status":"publish","type":"page","link":"https:\/\/sites.smith.edu\/printmaking-workshop-series\/jiha-moon-2007-2008\/","title":{"rendered":"Jiha Moon, 2007 – 2008"},"content":{"rendered":"
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Peter Pettengill and Jiha Moon review Moon\u2019s drawings for the project.<\/figcaption><\/figure>\n
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After Jiha transferred her drawing to the copper plate, Peter checks the plate to determine if enough of the drawing is present.<\/figcaption><\/figure>\n

Jiha Moon\u00a0<\/strong>
\nPeter Pettengill, printer
\n2007- 2008<\/span><\/span><\/p>\n

Workshop: October 20-22, 2008<\/strong><\/p>\n

The 2008 Smith College Print Workshop featured a collaboration between Korean-born painter Jiha Moon, and master printer Peter Pettengill of Wingate Studio.<\/span><\/p>\n

Self-described as a \u201ccartographer of cultures,\u201d painter Jiha Moon has said of her work\u2026 \u201cI try to visually express the complex relationships between the east and west, between nature and technology, and between the mental and physical worlds. The narrative motifs of these mindscapes come from my background as a Korean and through my\u00a0cultural experience in the United States.\u201d Moon is interested in both conceptual and stylistic oppositions and borrows her imagery from a variety of sources, both eastern and western, which she recombines to create her own fictional universe. Eastern scroll paintings are also an influence, however, unlike traditionally monochromatic Asian ink paintings, Moon\u2019s works are painted with a florid palette, borrowed in part from popular culture. Transparent washes of paint and flowing swathes of saturated color are countered by the exquisite draftsmanship of Moon\u2019s calligraphic lines.<\/span><\/p>\n

Moon\u2019s print\u00a0Impure Thoughts<\/em>\u00a0(2008), is partially inspired by the work of the American painter Philip Guston. The artist came armed with drawings and quickly adapted to intaglio work, using spit-bite aquatint to capture the delicate washes seen in her paintings, and lift-ground to mimic her masterful sweeping sense of line.<\/span><\/p>\n