Kelly Was a Chevy Man

Every year at OCAC the printmaking class does a printmaking exchange. I'm invited to participate every year as one of the handful of staff and faculty who get to join the fun. Last year I made

this post

 in which I observed that I most often render a car for these prints, like that motif was just my default. So this year I decided to deliberately exploit that theme, and carry it forward another step by making it the second in a series.

This print continues my exploration of Oregon’s landscape through narrative. I found the forest image, which is a letterpress cut, at the Letterpress Printers Fair this year, and both myself and the person I bought the cut from observed how "Oregon" the image felt. Part of this Oregon landscape is dense, rich forest, where nature is a force that has the power to reclaim what we try to take from it. Another part of Oregon’s rural landscape is the footprint we leave on it, like the phenomenon of the overturned car at the bottom of the ravine. How the hell did it get there? How did someone, at some point in history, drive to the cliff in the first place, then manage to tip their car over the edge?

Figure 2. Kelly Was a Chevy Man is printed from a vintage letterpress cut, hand-processed photopolymer from one of my many car drawings, and handset type of my very own text.

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