Coast Watcher at the Ballinglen Gallery

July 4th, 2017

Very pleased with the installation and response to my exhibition in the gallery at the Ballinglen Arts Foundation.
Coast Watcher was dedicated to the memory of Peter Maxwell, founder of Dolan/Maxwell and the Ballinglen Arts Foundation. Peter was a great colleague, mentor, friend/family and he is the Coast Watcher, happiest in Ballycastle (Ireland) in the cottage he designed with typical brilliance, and spending evenings looking North at the Atlantic from the glass porch. Peter believed in doing right, with proper attention and focus. I’m a better person and so fortunate to have been guided by him for so long. Rest in peace, Peter.

Coast Watcher exhibition in the Ballinglen Gallery, New unique prints by Ron Rumford

Coast Watcher exhibition installed in the Ballinglen Gallery

Coast Watcher– a exhibition of new and recent works in Ireland

May 12th, 2017

I am very pleased to announce 2 exhibitions for 2017.

First is a solo exhibition, Coast Watcher at the Ballinglen Gallery, Ballinglen Arts Foundation. The works in this exhibition have developed from residencies at Ballinglen in 2013, 2015 & 2016. I am pleased to have this opportunity to show the progression of works made over a four year period.

I am also deeply honored to be part of the Ballinglen Arts Foundation’s 25th Anniversary celebrations. The success of the Foundation is tribute to the vision hatched in 1992 by Margo Dolan and Peter Maxwell for a fellowship residency program that hosts international artists and their families in the remote and warm-welcoming community of Ballycastle on the extraordinary coast of North County Mayo, Republic of Ireland.  Coast Watcher is dedicated to the memory of Peter Maxwell.

The second exhibition is being planned for November and much nearer to home.
More about that soon.

Blue Traffic 2017 drypoint & collagraph with chine collé, 30 x 22" by Ron Rumford

Blue Traffic 2017 drypoint & collagraph with chine collé, 30 x 22″

A look back

December 21st, 2016

A request came for a pair from a group of prints I made some years back. A search through drawers unearthed this group. The challenge behind making them was to add color elements by stenciling directly onto the engraved, polymer clay plate. The stencils were cut from mylar and I remembered that I enjoyed working towards making each step in the process go as planned. Playing with the orientation of the plate on the page was the final step.
More and more I’m surprised by how much older older work is. Looking at these leaves me feeling that I got what I set out to do. Feeling a kind of satisfaction never gets old.

Six engravings with chine collè, sheet size: 10 x 10"

Six engravings with chine collè, sheet size: 10 x 10″

proofing & process #2

October 2nd, 2016

Just over a year ago I posted an image of a group of printed sheets showing how I approached making a proposal for the Print Club of Cleveland. My prints come together slowly and the process of deciding a presentation print happens slowly, too. My proposal was accepted and the work of printing the edition has begun.
First and second layers are underway. One printed from a collagraph plate, which in this case is acrylic medium poured onto a sheet of plexiglass. Ink (ochre) is rolled onto the surface and transferred onto kitakata as it rolls through a printing press. The second layer (blue) is a carved linoleum block–ink is rolled onto the surface and the paper printed under pressure as it rolls through the press. Here’s an image of the work now in production. Two sheets at each stage, aiming for consistency. Two more layers to go.

Ron Rumford print for Print Club of Cleveland: First and second state proofs; two more layers to go

First and second state proofs; two more layers to go

Back to Ballinglen

June 3rd, 2016

a tree grows in Ballycastle Co Mayo IrelandNext adventure is a working trip to Ireland at the Ballinglen Arts Foundation. Ballycastle, Co Mayo is a wild and remote part of the world. It’s a great place to shut off the noise of the world and refocus on making. Works for my 2014 exhibition, Origin & Return came together at Ballinglen. My plan is to push those beginnings futher. Simplicity and complexity are words that come to mind.

New Prints @ Allens Lane

March 31st, 2016

New Prints @ Allens Lane includes recent works by Matthew Colaizzo and me. The exhibition opens April 1 and ends April 29.
There is a cocktail/fundraiser reception on April 16 from 7-9 pm for a $25 donation at
Gallery hours areMonday thru Friday 10-5 or by appointment. Allens Lane Art Center is at Allens Lane & McCallum Streets, 19119
I hope you will see it.

Ron Rumford, Untitled 2015, drypoint with chine colle

Untitled 2015, drypoint with chine colle

Panel discussion on collecting art on 25 January 2016

January 17th, 2016

Art Collectors Panel Discussion

I am happy to be a part of this event. Park Towne Place has put together a distinguished collection of Contemporary art. This is an excellent opportunity to see how this landmark complex has been transformed.

looking back and ahead

December 31st, 2015

This is a work I am always happy to revisit. It pretty much lives in a drawer and recently emerged as part of a discussion for a commission of four new works. One thing leads to another! A happy thought as we leave 2015 behind and embark on the adventures of a brand new year. I think it is always a good idea to bring what is good with as we move forward. All good wishes to all for 2016.

Shift Variation, 2011  linocut & engraving with chine collè

Shift Variation, 2011 linocut & engraving with chine collè

Materials & techniques

November 3rd, 2015

I first used polymer clay plates in the late 1990s at the recommendation of Steven Ford. Steve and FordForlano use the clay to make colorful and highly esteemed jewelry. He had organized a conference where artists working in a wide range of media were invited to adapt polymer clay to their art making practice, including print making. I have learned a great deal from working with the material and love the sturdy lines I’ve printed from the plates. The lines are deeply engraved into wet (unbaked) clay. Once baked and cured, it is highly durable and I can continue to manipulate and rework the plates. I first exhibited works printed from polymer clay plates at Fleisher Art Memorial’s Challenge Exhibition in 2000. Here’s a work from 2001 with one plate printed in relief and the other intaglio with chine colle.

Ron Rumford Itinerary 2001 relief & intaglio with chine colle printed from polymer clay plates

Itinerary 2001 relief & intaglio with chine colle printed from polymer clay plates

proofing & process

September 13th, 2015

I was invited to submit a proposal for a print commission. I am honored to be asked spent quite a lot of time thinking of how to begin. 3 or 4 new ideas occurred to me and I began drawing both on paper and my trusty Ipad to make visual notes. Thinking on earlier works I’ve editioned, I was reminded that I usually end up feeling like the plates and linoleum blocks have just begun to reveal their potential. I therefore began with revisiting earlier works, playfully reversing the printing sequence, color choices and later adding another layer with another block. With this play/process I make variations which are pinned up and looked at both carefully and casually. After a while I feel I’m seeing what is working and what is not and can make decisions what next moves need to be made. I’m adding a photo of prints built this way showing how I began making my proposal print.

Ron_Rumford-proofing variations, engraving & linocut