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Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Bananas, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Woodcut trace monotyped in oil-based black ink on three sheets of paper from two basswood blocks carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The impressions were each joined and backed with three additional sheets of paper using wheat starch and trimmed to size. — Constellation, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink on two sheets of sekishu paper from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with two additional sheets of sekishu paper using wheat starch and trimmed to size. — Fence Lines, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Hoarder, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a hand baren. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — How Do I Say Goodbye, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and inked with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Reclining Arms, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink on three sheets of paper from a basswood block carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were joined and backed with three additional sheets of paper using wheat starch and trimmed to size. — Separatist, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Fabricator: Paul Mullowney Printing, San Francisco; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based brown sienna ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — The Wall, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink on three sheets of paper from a basswood block carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The impressions were each joined and backed with three additional sheets of paper using wheat starch and trimmed to size. — Waiting in Line, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Wholeness and Well-Being, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Image with bee shape on newsprint, 2014

Aaron Spangler

Not on View

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