This action might not be possible to undo. Are you sure you want to continue?
Phare-Camp ID#02116423 Fine Art Printmaking
A Day of the Dead Tarot
A Series of Woodcut Prints and Other Works Based on Tarot Cards December 15, 2009
2 .Phare-Camp A Day of the Dead Tarot Pg.
a series of prints. .Cover art: Calligraphic plate for Calaca 2009.
Phare-Camp A Day of the Dead Tarot Bio I cut my first tooth on a paintbrush in my Mother’s studio. the other a computer engineer. Sometimes while playing around I’ll create digital collages of my photos. scan them. It was an unusual household to grow up in as my parents. When I was a little girl I would sit and make paper dolls. I was also influenced by the left brained logic of scientists and engineers. do a painting of the image and/or transfer the digital print to wood for black & white or multi-color woodcut prints. I print the final plans. computers were also something I learned to use without fear. 2 . I often convey socially relevant and socially conscious dialogue in my art through the use of subtle and not so subtle imagery along with a dose of humor. So naturally Digital collage for the Fool tarot card. My whole life has been in an art studio. Pg. designing outfits for them as I watched my Mother paint. Not only did I grow up around right brained artists. were polar opposites. Since then I’ve learned to use the computer as a tool to development my art. and then play with the digital images until I’ve determined the appropriate composition and colors I will work with. sketches and ready-made computer clip art. one an artist. I will sketch my ideas. where I learned to draw and paint.
Digital collage for development of encaustic painting. .I love to correspond on line with other woodcut artists around the world and am a member of www.org. Magus II.barenforum. I value education and have consistently taken college classes for over 25 years. For the near future I look forward to sharing my education and experience teaching other aspiring artists in a college environment while actively creating and exhibiting my own art works. I regularly participate in print exchanges with these same artists. a worldwide woodcut artist’s Internet forum.
CA 1998 Upstairs @ the Gallery Native American Community Center Sacramento. CA 2000 Fundawear 2000 Barton Gallery Annex Sacramento. CA Pg. CA 2002 Art Furniture Salon Center for Contemporary Art Sacramento.Phare-Camp A Day of the Dead Tarot Artist’s Résumé Patricia B. CA 1999 Tower Tower Tower Gallery Sacramento.com EDUCATION Candidate Graduate work in Fine Art Academy of Art University MFA Undergrad and Grad Classes CSU Sacramento Fine Art Degree Computer Graphics Applications Sierra College Growth Using Macintosh Computers UC Davis Extension Growth Fine Art & Graphic Design El Camino College Commercial Art Montgomery County JVS Preparation Bachelor of Professional Professional AA Degree Career EXHIBITS 2009 Veterans Holiday Exhibition U20 Gallery Sacramento. CA 95610 (916) 729-7632 www. CA 2007 KVIE Art Auction KVIE PBS Sacramento. CA 1992-2002 Body Matrix (annual) Matrix Arts Gallery Sacramento. CA 2006 Dia de Los Muertos Space 15 Sacramento. Phare-Camp 7263 Cross Drive Citrus Heights. 4 . CA 1995 & 96 A Confederacy of Printmakers Goes Public Phantom Galleries Sacramento. CA 1999 Phoenix Show WEAVE Sacramento. CA 2008 Three Artists in March Blue Lamp Art and Music Sacramento. CA 2000 Opening & Monthly Shows Gallery 54 Sacramento. CA 1997 The Print and the Passion Luna’s Café Sacramento. CA 1994-2008 Altares Del Mundo A Celebration of Remembrance Sacramento. CA 2009 Alley Arts Festival Bridge to Art Sacramento. CA 2000 Spirits and Spaces SMUD Lobby Sacramento.imp-s.com phare-camp@imp-s.
TX SOFTWARE Photoshop Adobe Illustrator Adobe In Design Publishing programs Web Studio MENTORS Stonecipher Craig Antrum Esteban Villa Adobe PageMaker Adobe Acrobat MS FrontPage Yolanda Phare Carol Wagner Adobe Desktop Fine Print pdf pro Rachel Maximillo Garcia . NY 1992 Auction & Fundraiser Austin Art Museum Austin.1995 International Independent Exhibition Kagawa Kenmin Gallery of Prints Kanagawa Japan 1994 Emerging Artists International Limner Gallery Soho.
When I was 15 I was babysitting and the kids were asleep. there were many other influences in my early life leading up to this project. I scanned the family bookshelves and came across a book on Tarot. I The Priestess or Papess. she pulled out an unopened Rider-Waite Tarot and gifted the deck and book to me. Finally in the late 1990’s I re-gifted the book and well worn cards to another artist who was developing her own tarot deck. In addition to time spent in my mother’s studio and father’s workshop. so I sat down and read it while the children dreamed. The first important influence was in my grandmother’s home library where I was entertained for hours on end perusing her extensive collection of books about the weird and supernatural as well as an impressive array of first edition metaphysical tomes such as Mdm. Realizing I’d been inspired by her library.Phare-Camp A Day of the Dead Tarot The Project My master’s project is the initial step into a significant body of work that has been formulating in the back of my mind for probably most of my life. Another outside influence came with the acquisition of my first deck of Tarot cards. from A Day of the Dead Tarot treasured that gift and practiced with it for over 30 years. 6 . The cover image was intriguing and a quick scan of the contents compelling. seeking to relieve the boredom. my only child had left home for military training and I quit my Pg. At that time I was experiencing life changes. Blavatsky’s The Secret Doctrine. The mom was surprised on her return to find me wide awake.
The most knowledgeable women I The Candidate: an election year Day of the Dead installation. a group of political artists that began their advocacy at the side of Cesar Chavez. ever met. printmaker Carol Wagner. She introduced me to the political woodcuts of Jose Guadalupe Posada and the spiritual concepts of Native Americans. so it’s only natural that I should eventually come around to combining my artistic and spiritual interests. a celebration of remembrance that combines the influences of All Saints Day and Mexican Pg. One year she asked me to help her install an altar/art installation for Dia de los Muertos (the Day of the Dead). my mentor. She loved Native American and Mexican art and taught me much about what I had previously taken for granted. got me interested in exploring my own neglected cultural heritage. She taught me more about my own culture than I had learned in my home and community. She influenced a greater appreciation of the sense of humor in Duchamp’s ready-mades and the intellect of Escher’s tessellations. In my first college printmaking survey class I discovered woodcut printing and have been near obsessed ever since. Carol got me working with founding members of the “Royal Chicano Air Force”. 7 . I’ve also consciously studied Tarot and metaphysics since adolescence.A Day of the Dead Tarot Phare-Camp job at a television station to repurpose his unused college fund to resume my own interrupted education.
the annual art exhibit my mentor first got me started in and in which the community kept me involved in. The following year the director of a local homeless veteran’s organization asked me to help them design and build their Day of the Dead altar for the same exhibit. Thus began a spiritual evolution in the personal tradition of creating. These daydreams lead to even more imaginary visions of a Day of the Dead Tarot. building. The Magus or Magician. installing and blessing altars for local non profit organizations and “Altares del Mundo” (Altars of the World). Little did I realize that in conjunction with continuing my college education. While at the Academy of Art. I began to visualize the mythological ideologies and Tarot based archetypes that were being discussed. 8 . It began with imaginary visions correlating the lecture discussion to the upcoming Day of the Dead art and altar installations I was preparing for. from A Day of the Dead Tarot Pg. While held captivated in an intense art history lecture. We had too much fun gathering and assembling objects from flea markets. this little sideline of mine would become a significant influence in the evolution of my own art. woodcut printing. would materialize these visions beautifully to make a great master’s thesis. it dawned on me that my medium.Phare-Camp A Day of the Dead Tarot indigenous spiritual traditions. thrift stores and the backs of our closets to create a cohesive three dimensional statement of social relevance that was also aesthetic.
up for their students who rarely get the opportunity to learn how to set up equipment and prepare hazardous materials. Land based classes. If I’m on a roll and want to work into the wee hours. I’m free to do so… In addition to having the tools and materials I need to create at hand. especially printmaking. the critical thinking needed for developing conceptual ideas within my work has been refined by study of contemporary philosophers. activists and artists in academic classes taken at the Academy of Art. Through the on-line classes at the Academy I’ve gained the ability to purchase and safely set up my own home studio with the tools and materials of a professional. helped me in expressing my artistic ideas with confidence in a dominant society that tends to disenfranchise the works of women and ethnic groups. as overcoming a lifetime of cultural oppression means overcoming a lifetime of habitually not believing in your ability to create socially viable artworks. already have most of the tools and materials set The Lovers card from a Day of the Dead Tarot. if not more influential in my development as an artist than all of my previous years of college courses. Having a printmaking studio in my own home has been extremely liberating in that I’m not dependent on public or university printmaking studios or limited by their hours of operation. For instance. on multiculturalism in art. 9 . This is more important than those belonging to a dominant culture would understand. One class.A Day of the Dead Tarot Phare-Camp My on-line education with the Academy of Art has been equally. the reason it took an outsider to introduce me to my own culture is because my elders worked hard at raising me to “fit in” with the Pg.
Eventually I intend to create the whole deck but each card requires much meditation and study to develop meaningful and poignant symbolism and will therefore take several years to complete all 78 cards. the technical expertise when thinking through several technical issues and process puzzles and a boost up when I was beset with personal roadblocks are significant contributions from my project advisors. ideas and most significantly in process. Another class was a history class that asked us to describe our own work using the combined theories of psychology. The aesthetic guidance when stuck trying to combine concept with composition. The concept I have for the master’s thesis is to create woodcut print editions of cards from the Major Arcana of a Tarot deck with a Day of the Dead theme.Phare-Camp A Day of the Dead Tarot dominant culture’s standards of what has value. 10 . philosophy and logic of great contemporary thinkers. It was expressed beautifully by one of my peers when she commented in my blog “I wish I had a directed study advisor for life…” My path in this project took many sharp turns at the sound advice of advisors in regards to aesthetics. from A Day of the Dead Tarot Pg. I see this as an ideal opportunity to further my knowledge of the tarot in The Hierophant or Pope. My increasing confidence in my ability to present my ideas and expertise in handling the tools and materials needed to develop them into works of art has given me the mental strength needed to persevere toward developing my master’s project even in the face of several technical setbacks.
Pg. I’ve been able to find and develop a wealth of cross cultural transformational imagery. Their iconic symbolism represents the best and worst qualities of humanity. The deck I intend to create will tie the aspects of the Day of the Dead (an indigenous cultural event) and the Tarot (a European gaming and divination device). The Major Arcana are the most involved cards and are the foundation for the rest of the deck. . These collected images range from the first decks known from the 14th century to cards published within the past few years. Many of the images come from scans of my own large collection of Tarot decks while many others come from internet research. I’ve been developing this deck using iconography from my Chicano and Indigenous ancestry as well as incorporating symbolism from my European and Modern American cultural background. Rider-Waite. I then assemble digital images of the various cards into a digital presentation so that I can study and compare the card’s visual history. I approach the development of each card by first examining the respective card in a variety of different tarot decks. 11 The High Priestess Tarot Card from left to right: Crowley Thoth. specifically from websites dedicated to Tarot. Some new age groups claim that they are a road map or text book for initiation into increasingly higher levels of spiritual growth. Since most archetypes and symbols are universal. New Vision and Hanson Roberts tarot decks.A Day of the Dead Tarot Phare-Camp an effort to gain additional insight in regards to the development of my ideas for a meaningful life work.
the Rider-Waite deck designed by Pamela Coleman-Smith and the Thoth deck designed by Aleister Crowely and Lady Frieda Harris. Pg. Jung and Tarot by Sallie Nichols. A few favorites are Seventy-Eight Degrees of Wisdom by Rachel Pollack. Mystical Origins of the Tarot by Paul Huson. I then sit down with 8 to 10 books on translation of Tarot cards and as I study each author’s interpretation of the card I write down key words and phrases that strike a chord with me. carrying a “mini” version of the card in my wallet and engaging in meditation exercises designed to assist in the gaining of self actualization through Tarot. Two of the decks are older traditional decks developed in the early 1900’s. I look at each card and write down the symbols I notice. One of Many Books used for study. the Hanson Roberts Tarot designed my Mary Hanson-Roberts and the New Vision Tarot designed by Gianluca Cestaro & Pietro Alligo. 12 .Phare-Camp A Day of the Dead Tarot I then move on to an in depth study of the card from four decks. The Crowley Tarot by Hajo Banzhaf and Living the Qabalistic Tarot by Amber Jayanti. While doing these studies I also try to personalize the cards by hanging printout images where I will see them often. Again I am looking for universals in each book’s interpretation of the card’s meanings. The other two are contemporary decks. and then transpose those words into a chart to examine how many of the archetypes are universal to the four decks. these books are so rich in historical and interpretive information that I found myself referring to them more than any others in my home library.
I found I preferred the color quality of the Graphic Chemical water soluble inks. the Fool. I print the digital collage out and trace it as a line drawing onto a block of “shina”. Empress. After working through a few technical issues. I researched and tried several papers. so I’ve merged the western and Japanese techniques. Priestess. I carve Japanese style kentos for registration into the blocks but I use western inks. then printing it. finally choosing a 4x6” water color paper that has four deckled sides. I started carving the blocks for the first two cards with the intention of using the Japanese Hanga method of brushing watercolor pigments onto the block. Lovers and the Chariot. Emperor. Magus. What I’m presenting today are 8 completed cards. As I gather these images I cut and assemble them as a digital collage. I then start looking for digital photos and clip art of the elements within my imagined composition. brayers and an etching press to pull the prints.A Day of the Dead Tarot Phare-Camp Usually by the time I’ve finished study of a card I’m beginning to visualize my ideas. The Empress from A Day of the Dead Tarot. I carve a relief “key-line” block then transfer the key-line to other blocks to make my color blocks. hand made by women in India using recycled cotton rags. 13 . This becomes my preliminary sketch. Getting to Pg. The durable tin boxes for storing each deck are lined with remnants of a gold vintage upholstery weight silk brocade leftover from curtains my mother made in the 1970’s. Sometimes I add finishing touches in the Japanese way by brushing inks onto a separate block. It is also a socially conscious “fair trade” product. Hierophant. I wanted these to be “cards” so I wanted a card sized paper yet I also wanted it to be a very fine paper.
And with the creation of each card I have refined my technical skills and developed a distinctive creative style. I then had to internalize the universals from my study journals so that I could manifest aesthetic artworks that had a distinctive personal touch yet held archetypes readily available to the psyche of most viewers. Now that I have the technical issues resolved and a particular look developed for this life work. I’ve had to develop my own research. This conceptual preparation for each card continues to be a catalyst for deeper self knowledge and personal growth. I look forward to focusing a great deal of my professional time into developing into a fuller human being by continuing to engage in research. The Emperor card from a Day of the Dead Tarot. study and meditation in the pursuit of creating the full 78 card deck of this Day of the Dead Tarot by Patricia B. Phare-Camp. Also while working on the cards I’ve been inspired by the project to explore other ideas and have developed several derivative works in other mediums. 14 .Phare-Camp A Day of the Dead Tarot this point has been quite a journey. study and meditation techniques. Pg.
IL. NY. Chartwell Books. Meditations on the Tarot: A Journey into Christian Hermeticism. Weiser Books. 2002 Manara. Paul. Tarcher/Putnam. Sterling Publishing Co.r.l. Martin's Press. Gordano and Tiberio Gonard. Stamford. York Beach. Games Systems. 1985 Kepple. Bill and Lloyd Morgan. Lo Sarabao Antico. PA. The Hanson-Roberts Tarot. Running Press book Publishsers..S. Living the Qabalistic Tarot: Applying an Ancient Oracle to the Challenges of Modern Life. Stamford. Antiche Minchate Etrruria: Stampate in Firenze nel 1725. Lo Scarabeo. Aleister and Lady Frieda Harris. 1971 Crowley. Annie. 1996 Tarot History and Interpretation Akron and Hajo Branzhaf. 2004 Laurence. U. NY. Jayanti. Destiny Books. Torino Italy. Lo Scarabeo. CT. 2005 Hoeller. NY. TX. Edison. Caitlin. Wheaton. 2002 Berti. Torino Italy. 1952 Lionnet. 1996. Amber. CT. 2005 Unknown. Stamford. Lo Scarabao. The Crowley Tarot: the Handbook to the Cards by Aleister Crolwey and Lady Frieda Harris. Shirley and Jonathan Dee. Paul and Julie Paschkis. The Tarot Directory. St.. Milo. Simply Tarot. Mary. Austin. Italy. U. The Erotic Tarot. Stamford.S.2004. The Fool’s Pilgrimage: Kabbalistic Meditations on the Tarot. The Morgan-Greer Tarot. CT. Ordo Templi Orientis. The Tarot of the New Vision. 2004 Cestaro. Llewellyn Publications. MN. VT. Games Systems.1993 Hanson-Roberts. Philadelphia. Tarot of the New Vision. Lo Scarabeo S. U. The Da Vinci Enigma Tarot. The Thoth Tarot. 2005 Greenaway. Theodor. 2006 Greer. Woodbury. Tarot. Pamela and Arthur Edward Waite. Anne-Marie. CT. 2003 Coleman-Smith. Games Systems. 2004 Huson. Torino Italy. Mystical Origins of the Tarot: From Ancient Roots to Modern Usage. Tarot: A complete Deck of 78 Cards. 2000 Unknown.A Day of the Dead Tarot Phare-Camp Bibliography Tarot Decks Barker. NJ. PA. The Llewellyn Tarot Companion. Barnes and Nobles. ME.S. Leanna. NY. US. Torino Italy. Rochester. Games Systems. Ancient Tarots of Bogna: Giacomo Zoni in Bologna – 1780. Ferguson. Jeremy P. Gianluca and Raul . The Rider-Waite Tarot Deck. Quest Books.. Torino. Stephan. 2004 Matthews. Harrisburg. How the Tarot Speaks to Modern Man. 2002 . Stackpole Books. 1995 Anonymous.
Tarot Journal. The Forest of Souls: A Walk Through the Tarot. Tarot History.wikipedia. St. Franklin Lakes. MN. MD. 2003 Levitt. 2009 Pg.tarotpedia. 2005 Web Sites Solandia. Visionary Networks http://www. US. 1996. ME. 2007 Tarot Meditation Braden. Llewellyn Worldwide. Susan. Tarot.com: Experience the Wisdom.whats-your-sign. Aeclectic Tarot. Tarot for Your Self: A Workbook for Personal Transformation. Rachel. 2005-2010 Avia Venefica. Jean-Michael. New Page Books. York Beach. http://www.Phare-Camp A Day of the Dead Tarot Nichols. 2001 Levitt.tarot. Mary. Llewellyn Worldwide. Assistance and Guidance in Lining Boxes. What’s Your Sign: The Doorway to Symbolsm. Solandia. http://www. Seventy-Eight Degrees of Wisdom: A Book of Tarot. Rachel. 2003 Pollack. 3 Dec. Avia. WI. US.tarothistory. Llewellyn Worldwide. CA. Games Systems. NJ. London. Tarot. CT. Sallie. Robert. Jung and Tarot: An Archetypal Journey. Sacramento. http://www.com/ Box Making Stonecipher. CT. 2009. Paul. Association for Tarot Studies. Introduction to Tarot. 2002 Jette. Tarot for Self Discovery. 21 Nov 2009. Paul. Tarot Shadow Work: Using the Dark Symbols to Heal. 2002 Greer. Columbia. St. Stamford. Games Systems. 2006-2009.com/tarot/decks/index.com/ O’Brien. 1997 Wang. MN. Marcus Aurelius Press. St. Rachel. http://en. Tarotpedia.org/wiki/Tarot David. Tarot Psychology.net/tarot/ Wikipedia. Stamford. Creative Commons. 2009. Christine. http://www. Paul.php Venefica. Paul. Susan. 2009. 2 Dec 2009. Robert. 16 .com/wiki/Tarot_Cards Mealing. MN. Element. 1980 Pollack. Nina Lee.aeclectic. Samuel Weiser.
A Day of the Dead Tarot Phare-Camp Calaca 5 a mixed media print .
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.