Jake Longstreth
L.A. Pines #1
25 color Silkscreen
48 x 31 in
Edition of 50 plus 5 artist's proofs
Copyright The Artist
Los Angeles Pines is a suite of four silkscreen prints. Pine trunks andneedles serve as the central subject, while quintessential LA landscapes recedeinto the distance of each scene. Though pine...
Los Angeles Pines is a suite of four silkscreen prints. Pine trunks andneedles serve as the central subject, while quintessential LA landscapes recedeinto the distance of each scene. Though pine trees are ubiquitous in LA, it is not atree particularly associated with the city in the popular imagination. Competing
in the same landscape with the iconic palms, the exotic eucalyptus and the shade-dense ficus trees, the pine tree is often a sort of lonely specimen. Longstreth
decided the densely intricate bark and light-absorbing needles would be a uniquevantage point from which to consider Los Angeles.
Working with master printer Daniel Wlazlak, the artist found a new graphiclanguage to translate his oil painting practice into silkscreen printing. To begin,Longstreth precisely designed each print by executing acrylic-on-paper paintingsat a corresponding scale to the final prints. He then gave the paintings to Wlazlakwho began his translation of Longstreth’s work through silkscreen. Longstrethwould frequently visit the printer’s studio in Gardena, suggesting alterations tocolors and finally painting the pine needles, palm fronds and eucalyptus leavesonto the mylar himself, retaining his distinct hand. The final prints deftly marrythe subtlety and rigor of Longstreth’s oil paintings with the graphic punch ofsilkscreen printing.
in the same landscape with the iconic palms, the exotic eucalyptus and the shade-dense ficus trees, the pine tree is often a sort of lonely specimen. Longstreth
decided the densely intricate bark and light-absorbing needles would be a uniquevantage point from which to consider Los Angeles.
Working with master printer Daniel Wlazlak, the artist found a new graphiclanguage to translate his oil painting practice into silkscreen printing. To begin,Longstreth precisely designed each print by executing acrylic-on-paper paintingsat a corresponding scale to the final prints. He then gave the paintings to Wlazlakwho began his translation of Longstreth’s work through silkscreen. Longstrethwould frequently visit the printer’s studio in Gardena, suggesting alterations tocolors and finally painting the pine needles, palm fronds and eucalyptus leavesonto the mylar himself, retaining his distinct hand. The final prints deftly marrythe subtlety and rigor of Longstreth’s oil paintings with the graphic punch ofsilkscreen printing.
1
of
4