Dreams Are Fleeting Black&White Woodblock print

This collection encompasses all my black and white wood block prints that I did in the late 80's at Malaspina Printmakers on Granville Island, Vancouver, BC. I worked in colour screenprints largely at the time, and did large experimental woodblock screenprint combinations. I created a small collection of black and white prints which were part of the printshop's donation from 1970-1990 to Simon Fraser University (SFU) way up on Burnaby Mountain. I only ever did small editions of 10-12 prints. This/These prints are held in the Simon Fraser University Malaspina Printmakers Archive 1970-1990. Only four prints were selected to be shown in the Gibson Art Museum July 4-Sept 13, 2026, exhibition Working Proof Prints from the SFU Art Collection as part of a group show with Susan Gransby, Libby Hague, and Anna Wong. *Day Dreams Are Fleeting *Seduction At A Single Glance *Dreams And Flowers *Miriam And Florals Etching Itaglio **Portrait of Bruce **VooDoo Woman Recently, my work was rediscovered by Joshua Segun-Lean, who is a writer, curator, and editor. He holds an MA in Contemporary Arts from SFU and embarks on a PHD in Geography at SFU in Fall 2026. He was assisted by curators Kimberly Phillips, Julia Lamare, Susanna Browne, Justin Muir, and Val Loewen of Malaspina Printmakers Society. So I should mention that my woodblocks were never actually done on lino but on a pressed fiberboard called melamine, and the tool of choice was the electric Dremel. I occasionally used wood carving tools, but only for the background areas to carve away larger portions. Lino itself to do these large format prints was a more expensive matrix. Melamine was super cheap, came in large 8x10 sheets at the hardware store that I had cut down to the size I wanted. I mischaracterised my work by using the term "lino" when woodblock is a more appropriate matrix. I was, to my knowledge, the only printmaker working with melamine and a Dremel to create my work. A Dremel is very much like using a pencil. Lightweight and gave a deep line. I had a plethora of bits to choose from when making lines, and as they wore out relatively frequently, I would need to buy more. I could work with more dexterity and more detail than by hand, which would have taken much longer. I am considered to be an unacknowledged female printmaker; My work focused on female and male nudes, and I found it almost impossible to find galleries willing to show my work that were at best continuing the conversations of Matisse to Judy Chicago. I hope to have more shows of my work.