You may be interested in buying something that I have made. Everything that you see in the Gallery is original, one of a kind, and made by me. I love sharing what I make with others and prefer to discuss the process with you so that you get what you want.
There are a couple of easy ways to communicate with me:
• Contact me at this link.
• Send an email: firstname.lastname@example.org
• Call: (619) 432-2901
You will find my art on display for your enjoyment and purchase at
a marketplace for local artists, located in the heart of Hillcrest
at the corner of Fifth and University
If you are interested in a monoprint, they are done with a press, paint (watercolor or water miscible oils), and Rives BFK 100% cotton paper…sometimes other materials can be added if desired. That’s why it’s important to communicate to make a plan. A mat can be cut to your specifications as well. The images range from small (2" square) to large (20"x24", 10"x26"). Some of the items in the Gallery are available for purchase. Similar pieces can be made.
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If you are interested in a fused glass, the opportunities are diverse in both color and shape. The cost of making an item is directly related to the type of glass and the size of the piece as well as the time it takes to make and fuse it. I can make any of these items in your choice of colors. Just contact me as above.
WHAT'S GOING ON?
julie prazich monoprints and fused glass
ABOUT THE ARTIST
WHAT IS A
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CONTACT THE ARTIST
Julie Prazich was born in Johnstown, Pennsylvania and currently lives in San Diego with her partner, Sara Rosenthal and the Czarina Alexandra Sofia Prazenthal (their cat). The eldest of four children raised in a community of coal and steel workers, Julie was fortunate to be able to be able to study and earn a BS from the University of Pittsburgh and an MD from the Medical College of Virginia (VCU).
Dr. Prazich has more than 40 years of experience as a physician. Following a residency in Internal Medicine, she practiced IM in various settings including service as Medical Director of the Geriatric program, Sharp Senior HealthCare. The last two decades of her practice she was on the staff and faculty of San Diego Hospice & Palliative Medicine. She chose to retire when that institution closed its doors. Retirement has brought unexpected sense of loss…and a new opportunity to explore her life and art more deeply. She continues to serve on the Voluntary Faculty working in association with the Fellowship Program in Hospice & Palliative Medicine, a program shared by UCSD, School of Medicine and Scripps Health in San Diego.
While her training is as a physician not an artist, she has had the good fortune to share her art with others in a number of ways ranging from participation with patients/family/caregivers to individual shows and fund raisers as well as more recent efforts to find a functional sales outlet. Resumé is included elsewhere in this site.
This website includes images of her original works including both her paper art and fused glass art. Most of the paper works are Monoprints/Monotypes, an original printing process. The ones with “Ucross” in the title were created at an artist retreat studio in Ucross, Wyoming with Advocates for Health and Art. The ones with “MV” in the title were created in a studio on Martha’s Vineyard, Massachusetts. Other prints were done in her studio in San Diego. Glass fusion is a process of using glass specifically designed to “fuse” or melt together that can then be reheated and slumped into various shapes. All of these pieces were created in her San Diego studio.
"What I love about both of these techniques is that the result is always a surprise to me. I can start with a plan but the process goes its own way and the press or the kiln can do things I didn’t expect—sometimes good, sometimes not so much.
My art is inspired by nature and my personal dialogue with terminally ill patients and folks who care for them, infused with the peace that comes from a fortunate life and a caring partner, and made possible by the support of a wonderful community of friends and family. "
A MONOPRINT (also called MONOTYPE) is a unique work of art made by applying paint (oil or watercolor) or printing ink to a flat surface and transferring the image to paper. Unlike other printing techniques which are intended to make multiple copies, each Monoprint is one-of-a-kind. While the materials used are similar to painting directly on paper, the textures obtained are different depending on the thickness of the paint and the pressure used in the transfer process.
TOOLS needed are simple —
PRINTING SURFACE: anything flat and non-absorbent (usually smooth). This includes glass, plastic, metal, stone, polished wood.
IMPLEMENTS FOR PAINT APPLICATION: rollers, brushes, sponges, palate knives, etc.
MIXING SLAB: often glass but could be mixing palate or other material. This facilitates use of a mix of implements.
PAINTS: block-printing ink, oils (regular or water miscible), water colors in any form.
PAPER: quality print papers are best as the process is enhanced if papers are soaked prior to image transfer.
A monoprint is, in essence, a printed painting. The beauty of this medium is in its combination of printmaking, painting and drawing media, and the spontaneous and beautiful results.
METHOD: Apply the image to printing surface. Build up the image using various implements to paint as one would do on paper. When the image is fully developed, lay a sheet of paper over it and rub evenly across the back of the paper (this can be done by a firm hand, a spoon, a roller, or a press if one is available). When the paper is lifted, the image will have transferred from the plate to the paper. Sometimes additional images can be produced from one plate. These are called “ghost prints” and each strike becomes fainter, coarser in texture, and less colorful. The paper and paint should be allowed to dry.
Of all the printmaking techniques employed, monoprints are often considered to be the most painterly of methods. A monoprint is, in essence, a printed painting. The beauty of this medium is in its combination of printmaking, painting and drawing media, and the spontaneous and beautiful results.
Monoprints can involve elements that change, as the artist reworks the image in between impressions so no two prints are identical. Monoprints may include collage, hand-painted additions, and a form of tracing by which thick ink is laid down on a table, paper is placed on top and is then drawn on, transferring the ink onto the paper. When these additions are used, the work is titles "mixed media". Monoprints can also be made by altering the type, color, and pressure of the ink used to create different prints.
These works of art are signed in pencil usually below the printed image.
On the left side either the words "Monoprint" or "Mixed media" or the symbol "1/1". On the right side the artist signs her/his name. In the center space the title of the work is written.
Glass can be exposed to increased temperatures in a kiln and fused to make
art glass, glass tiles, jewelry, and beads as well as larger functional pieces like dishes, bowls, and plates. Producing functional pieces requires two or more separate firings, one to fuse the glass and a second slump to shape it.
Even when it appears to be solid, glass has the chemical/molecular structure of a liquid... a stiff liquid which will behave more fluidly as it is heated (above 20,000° F it has the consistency of honey). As a kiln heats it, the glass passes through different stages. Below 10,000° very little change is seen in the glass tough above around 8,500° it can no longer be shattered. The first changes seen are rounding of edges, next surface abrasions are smoothed, then layers stick together, and eventually above 14,000° F the footprint expands. This expansion and subsequent contraction occur at a rate determined by the COE (Coefficient Of Expansion) of the glass and is likely to result in an unstable final product if materials with different COE are used.
Multiple layers will stick together and the footprint expand if no dam is used. Unless contained layered glass will flow freely until it reaches a thickness of ¼”. It will also become more reactive with other materials—metals, shelf, etc. Higher temperatures may cause bubbles, separation, boiling of the glass.
TOOLS: Glass cutter with cutting wheel made of carbide steel (there are also tools specifically designed to cut circles and other shapes). Cutting lubricant usually specific cutting oil but may be mineral spirits. Cutting surface may be as simple as a table and ruler or any number of cutting measuring/cutting systems commercially available. Kiln (+/- kiln shelf) with programing capacity. Kiln wash or shelf paper to prevent glass from adhering to kiln floor. Glass cleaner for remove oils, etc. from glass before firing. Safety equipment including: safety glasses, heat resistant gloves, lightweight cotton gloves (protect from dusts or fibers), respirator (for specific fume or vapor producing projects), bandages
always some cuts, but usually clean). Glass shapes, fusible paper, glass paints, decals, metal in pieces or leaf can all be used as part of creative process. Slumping forms to convert flat glass form into other shapes.
METHOD: Glass can be cut in any shape, layered for expression and design using the tools noted above, then placed in prepared kiln. The firing process requires program- ming with initial heat, plateau (pre-rapid heat soak), rapid heat, peak (process soak), rapid cool, slower cool (anneal soak and cool), and finally cool to room temperature. Lifting the lid of the kiln during the heating or before it cools below 10,000° can result in damage to the glass and/or disruption of the annealing process. After the glass has been fused in flat form and cooled it can be placed on a slumping form and put into the kiln with lower temperature program to create three-dimensional shapes. Glass pieces can be signed using a pen (often silver or gold) or an etching tool—either on front or back of the piece. Some art pieces may be named and a date can accompany the signature.
Welcome to the Gallery.
Click a link above to visit.
In the Gallery of Current Works, you can view Julie's monoprint and glass art, as well as purchase certain pieces. Some are currently on loan to the Howard University Hospital Oncology Unit in Washington, DC. These pieces are available for purchase, but delivery cannot take place until the art is returned from exhibition.
The pieces in the Gallery of Past Works have been sold and are no longer available for purchase.
Please enjoy the Gallery tour. If you have any specific questions or comments, just use the "Contact The Artist " tab at top.
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