Bubble-up, 2013, 22 3/4 x 17 inches each, edition of35 泡泡了，2013年，223/4×17幾寸，版35
DurhamPress is pleased to announce達勒姆按欣然宣佈 Bubble-up , a new portfolio of prints by Emil Lukas.泡泡機 ，版畫由Emil盧卡斯的新組合。 The portfolio consists of two etchings and sevenscreenprints, each measuring 22 3/4 by 17inches.該產品組合包括兩個銅版畫和7 screenprints，每個測量22 3/4 x 17英寸。The nineprints are presented in a portfolio box and are published in anedition of Bubble-up , Lukas both recreates and re-imagines theunconventional materials and methods–including thread, larvae,bubble wrap and glass–of his acclaimed paintings andsculptures.九版畫呈現在一個組合框，並發表在一版泡泡機，盧卡斯既再現和重新想象的非常規的材料和方法，包括線程，幼蟲，泡沫包裝他的著 名的繪畫玻璃和和雕塑。Theartist organized the prints in a three-byree grid to give theoverall composition of dots, lines, and other marks an upward andeffervescent in this grid, two screen prints referenceLukas's thread paintings, which he creates by stretching layers ofthreads across woodenframes.藝術家舉辦了版畫在一個三乘三格給點，線，和其他標誌向上和泡騰in該網格，兩種屏幕打印引用盧卡斯的線畫，他創建了一個由拉伸層的整體組成跨木製框架的線程。Taut,colorful lines crisscross Hum , and vertical strings accumulate into a dense massin Curtain . Anatomy documents the wandering of larvae and ink onglass.拉緊，多彩線條縱橫交錯坎，和垂直字符串積聚成黑壓壓的帷幕。 解剖記錄幼蟲和油墨在玻璃上的徘徊。 By printing screens of the larvae's marks, aswell as several flat washes of transparent ink, the print achievesan opacity and depth similar to that of Lukas's remaining prints in Bubble-up allude to Lukas's distinct painting techniqueswhile also exploring new mark-making possibilities throughprintmakingprocesses.通過打印幼蟲的痕跡，以及透明油墨的幾個平板清洗的屏幕，打印實現的不透明度和深度類似於盧卡斯的幼蟲幅畫的在剩餘的打印泡了暗示盧卡斯的獨特的繪畫技巧，同時也在探索新的通過版畫工藝標誌製作的可能性。In threeadditional screenprints, Lukas again used thread to produce images,but he broke away from his typical unbendinglines.在另外三個screenprints，盧卡斯再次使用線程來產生圖像，但是他脫離了他的典型的不屈線。Hecreated a variety of compositions, from the structured undulationsof Curve to the more free-form entanglements of Blood and Release . Glass unexpectedly reinterprets an aspect of Lukas'slarvae work.他創造了各種組合物，從結構化的起伏曲線，以更自由的形式糾葛血液和發佈。 玻璃意外地重新詮釋的盧卡斯的幼蟲工作的一個方面。 Instead of exposing glass marked with ink, thescreenprint subtly reveals the gentle variations in tone caused byoverlapping his vacantsubstrate.代替露出玻璃標有墨水時，絲網印刷巧妙地揭示了平緩變化的色調重疊造成他的空置襯底。Theartist used bubble wrap to create soft ground etchings forDetail andOrb.藝術家用泡沫包裝來創建軟基蝕刻的細節和寶珠 。Thoughthey recall his bubble-wrap-cast paintings, Lukas composed theprints to highlight the individual textures and crumpled lineswithin each circle, or “bubble,” of the seemingly uniformutilitarianmaterial.雖然他們還記得他的泡沫包裝鑄畫，盧卡斯組成的版畫以突出每個圓圈內的單個紋理和皺巴巴的線條，或“泡沫”，看似統一的功利材料。As withglass, thread or larvae, Lukas's ability to accentuate theparticularity of the everyday pervades thisportfolio.至於玻璃，螺紋或幼蟲，盧卡斯的加重日常的特殊性能力貫穿這個組合。
夢想與現實之間的磨合讓我讀懂很多生活的語言，風雖改變了方向，卻沒有改變我的行程-----
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