Bryan Nash Gill is an artist in rural Connecticut, where he lives with his wife and son, Forest. His prints, drawings, and sculptures are heavily influenced by the New England countryside he calls home.
"A swell coffee table companion for hip young DIY-ers who cultivate
a lumberjack look that says they've come straight from splitting
firewood, the new book "Woodcut" is also likely to appeal to a much
wider audience." -- Wall Street Journal
"With this mesmerizing series, Bryan Nash Gill doesn't just bridge
the gap between abstraction and representation, object and
subject-- he closes them. WOODCUT confirms Gill's place as one of
the most inventive, inspired artists working today" -- Tod Lippy,
Esopus magazine
It's a strangely moving experience to flip through Woodcut
(Princeton Architectural Press, $30), a book of Bryan Nash Gill's
relief prints of tree-trunk cross sections, which the artist
harvests from felled trees, cedar telephone poles and discarded
fence posts in his native Connecticut. One is struck by how Gill's
method - cutting blocks with a chain saw, sanding them down,
burning them and sealing them with shellac - amplifies the events
in the life of a tree: lightning strikes, burgeoning burls, insect
holes and, of course, the aging process, evidence of which radiates
out in transfixing patterns. Verlyn Klinkenborg, who also writes
for The New York Times, describes these cross sections in the
book's preface as "the death mask of a plant, the sustained rigor
mortis" of maple, spruce and locust. They remind us, he says, that
every biological form "possesses a unique footprint." --- T: The
New York Times Style Magazine
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