Archive for the ‘Linoleum’ Category

Apocalypse Cow

Sunday, November 3rd, 2013
Apocalypse, Cow, lino-cut

Apocalypse, Cow, lino-cut

City Flag

Monday, April 5th, 2010
City Flag

City Flag

Published: 1998

Size: 220cm x 90cm

Method: Linoleum, Color linoprint

Folded Flag

Monday, April 5th, 2010
Folded Flag nr.2

Folded Flag nr.2

Published: 2010

Size 150cm x 135cm

Method: Linoleum, goldleaf

After The Fall

Monday, April 5th, 2010
After The Fall

After The Fall

Published: 2010

Size: 120cm x 120cm x 14cm

Method: linoleum

Ikarus

Monday, April 5th, 2010
Ikarus

Ikarus

Published: 2010

Size: 120cm x 120cm x 27cm

Method: linoleum

Participated in:

Before The Burnt Altar

Monday, April 5th, 2010
Before The Burnt Altar

Before The Burnt Altar

Linoleum sculptures

Photographed on location:A Burnt Church in Amsterdam

Before The Burnt Altar

Before The Burnt Altar

 

Before The Burnt Altar
Before The Burnt Altar
Before The Burnt Altar
Before The Burnt Altar
Before The Burnt Altar

Before The Burnt Altar

 

Before The Burnt Altar

Before The Burnt Altar

 

Before The Burnt Altar

Before The Burnt Altar

 

Before the Burnt Church
Before the Burnt Church

Desert flowers

Monday, April 5th, 2010

 

Desert Flowers

Desert Flowers

Published: 1996

Size: 600cm x 250cm x 45cm

Method: Linoleum plates, lino-cut

Exhibited in:

Detail

Detail

Detail

Detail

Folded Flag

Monday, April 5th, 2010

 

Folded Flag

Folded Flag

Published: 2009

Size: 220cm x 90cm

Method: Linoleum, color lino prints, Goldleaf

Exhibited in:

Exhibited:

Linoleum Installation nr.2

Monday, April 5th, 2010
Linoleum Installation nr.2

Linoleum Installation nr 2

Published: 1997

Size: 500cm x 500cm

Method: linoleum plates, lino prints

Participated: Grafiek Nu, Biennial Dutch Graphic Art

Linoleum Installation Detail
Linoleum Installation Detail

Linoleum Installation

Monday, April 5th, 2010
Linoleum Installation

Linoleum Installation

Published: 1997

Size: 500cm x 500cm

Method: Linoleum, lino prints

Participated in:

“In some cases, these works come very close to the limits of what is seen as an installation, or Even overstep them. As is happening in so many other domains of modern art, this raises questions about the limits or definitions as such. What is that defines a work of graphic art; is it still possible to draw a fine line between what is a work of graphic art and what is not? That is what the work of Billha Zussman is about. It is about the relation between copy and original, identity and its mirror image. The work shown here has previously been exhibited at the Old Basius Church in Delden, the Netherlands where it was awarded the first prize for monumental graphic art.

From the jury report (may 1995)

“…what is striking here is the tendency to turn space and light into a substantial element of the work of graphic art itself. The result is a “ double play” between the space within the work and the surrounding space in the church. (….) As soon as one enter the church through the double doors of the tower, one is greeted intriguingly, almost overwhelmingly, by Billha Zussman’s work. In the slightly lopsided arrangement of the central installation of printing forms and prints, we notice an ingenious use of the chandelier and the light coming in through the church windows. Billha Zussman finds numerous new possibilities for the traditional applications of the old lino cut techniques, and in addition has developed numerous completely new applications. She combines prints from the printing form with prints on the printing form; she uses repetitions, reversals and overlapping, and, what’s more, she uses the cut out lino plates as sculptural element. (…. ) The installation is a three-dimensional compilation of colourprints and their image carriers. The image carrier functions on several levels; as an image carrier and, when printed with images of other printings forms, as an image in its own right. Thus, usual functions are being reversed.

The result is something like a montage “laying bare” or even “dismantling” the “insides” of the work and the printing process. In the image of the picture cut out of the lino and/or emerging from the lino in prints, Zussman splendidly applies two of the old characteristics of graphic art: the interaction of black and white and the intrinsic value of the line. Billha Zussman proves to be a graphic artist who combines a deep understanding of tradition with an almost boundless zest for experiment.( … )”