Blaine Deutsch

Blaine Deutsch is a painter, printmaker, designer, producer, cyclist, conversationalist, writer, and seeker of inspiration. He describes; “My daily intent is to further my skills as a storyteller, image maker, and amateur quantum physicist”. The owner of a giant garden, which not only provides a wealth of produce, for Blaine it also functions as a grand experiment in wonder. “I truly believe that we are each better for the people around us and that it is possible to do great work while still being nice to one another.”

Blaine is a strong believer that art of all genres is essential, because “they are the purest documentation of our moment in time”. His recent work examines the in-between moments; fleeting thoughts, the transition from one idea to the next, and the words spoken aloud even when no one may be there to hear them. Blaine’s work is heavily influenced by post-war American art, be that pop, abstract expressionism, or neo-expressionism, with a nod to techniques developed centuries before.

His journey into printmaking began when he was studying Graphic Design, however Blaine switched major to Painting & Printmaking by the end of the first semester after he discovered the work of Jasper Johns. He then taught himself Photoshop so that he could use the scanner and create colour separations for lithographs. After graduating, Blaine started working as a designer, and spent 15 years working in ad agencies, developing a love for type. All the while, he maintained a painting studio and belonged to several printmaking co-ops so that he could stand at a press as often as possible. Design became all encompassing for a while, but he finally decided to swing the focus back to the studio.

Blaine describes that his original love was for linocut; “I was fascinated by the process, found carving meditative, and learned the value of seeing an image in reverse”. He was then introduced to copper and acid, intaglio, and later, litho. Interestingly, especially given his affinity for the photographic image, screen printing was the last of the printmaking techniques that Blaine picked up, but has now become one of his primary methods. Most of his screen work involves an image on canvas or a panel as part of a larger painted piece. He recently learned that thick gold leaf sizing plays well with a screen, opening up some fun possibilities. Although he does create the occasional screen print edition on paper, for most of his editioned pieces, Blaine has returned to his first love, relief prints. “A large sheet of battleship gray linoleum, sharp tools, and a Takach press still bring the same joy and wonder as they did in the beginning.”

www.blainedeutsch.com
@blaine_deutsch

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