The Wonder of the Leaf

Bruce Peck' "Winter's Grip" is, at first glance, a depiction of our world lying leafless in the depth of winter. But with its patterned depiction of snow-drenched drooping branches, its feeling for the moving water of a stream in winter, its subtle coloring suggesting the greens of evergreen boughs and a hopeful pink in a far-off sky, "Winter's Grip" reminds that those leaves will return, for sure.

Bill Mitchell's "Black Cap Mountain" gives a strong feeling for what's its like for those leaf-makers struggling to survive up on NH's mountain tops. Wind-swept and tenacious, those spruces and stunted birch trees, they keep trying.

William Hays' linocut print "Abundant Earth" is all about it, a focused statement sharing a recreated idea of the endless variety that our leafy forests offer up.

Sandy Wadlington's "Late November" shows some of that leafiness organized into fields, trees, far off forest edges. A main idea in this image, a tidy woodblock made using the Japanese multiple method, is the impression of afternoon sunlight under a cloud-bound sky, slivers of the solar energy that gives leaves a reason to be.

Marcie Maynard's "Early Spring 1" is a monotype, a fleeting impression of the way leafy greens can appear as a brief impression against an early Spring blue sky.

Brian Cohen's drypoint etching titled "Tree" develops an original idea of what a major maker of leaves, a tree, perhaps an oak, perhaps a maple, can be about: an endless variety of lights and darks, marks and patterns, gestured lines and rich graphic evidence of growth and development.

Matt Brown's "Below Mt. Pemigewassett" offers a snippet impression of the tenacious and patient quality leaves sometime pursue, marcescent beech leaves that cling when most of their fellow leaves have long before let go.

Dave Morgan's "Summer Weeds" is all about it also: leafy, luscious cornstalk leaves getting along just fine with sunflowers or some other invasive plants, photo-synthesizing aspirants also reaching for sunlight and to be seen and known.

Angie Coleman's linocut print "East Fork Aspens" uses full-bodied heavy ink, the brilliant colors of this print are like the sunlit leaves against a bold blue sky in the fall. My own opinion? The print shouts out an appreciation and gratitude for the leaves of these trees which beautify the hills and mountains of our world.

Jean Gumpper's "Clear Day" is a big print. Oak leaves depicted sporting the mottled colors of fall, Jean's image carries the feeling of patterns and movement so wonderful in our leafy world. Leaves are responsive, they continually change; leaves catch the light, they stay honest and hopeful; leaves catch the wind, they are this way and they are that. Working with a woodblock reduction method, Jean's imagery goes right to the edges of full sheets of beautiful french-made cotton paper. She catches in this print all the wonderfulness and potential of a focused appreciation for leaves. "Clear Day" works as a reminder that handmade prints, like leaves, are of a type yet no two are exactly the same.

Bruce Peck' "Winter's Grip" is, at first glance, a depiction of our world lying leafless in the depth of winter. But with its patterned depiction of snow-drenched drooping branches, its feeling for the moving water of a stream in winter, its subtle coloring suggesting the greens of evergreen boughs and a hopeful pink in a far-off sky, "Winter's Grip" reminds that those leaves will return, for sure.