Issue: Winter 2007
Ron Fundingsland: Traditional Printmaking Still Rocks
Written by Jan Judy Dixon
Don’t be fooled. At first glance, Ron Fundingsland’s prints may seduce you with their simple contours, elegant shadings and rich hues. But on closer examination, you’ll find a walloping message–a political or social statement that may rock you. “Art has to be mysterious, it has to be ambiguous, and it has to make you think,” says the Bayfield, Colorado resident who, for the past 24 years, has been honing the art of printmaking in a small studio tucked away in his backyard.
Printmaking, which flourished in Europe during the early Renaissance, has had its share of artistic heavyweights explore the medium, including Dürer, Rembrandt, Goya and Picasso. “The fundamental processes that were used 250 years ago are still being used today,” says Fundingsland. “It hasn’t changed very much.”
Some artists shy away from printmaking because it involves what appears to be an overwhelming commitment of resources, such as metal, acid, inks, papers and the etching press. It is also time-consuming and takes a fair amount of patience. But for those who fall in love with the process–that willingness to ink and proof and ink again–it is “simply magical,” says Fundingsland.
While there is a movement afoot toward computer-generated art, it will never replace printmaking, not according to Fundingsland and others passionate about this art form. “I am an advocate for this medium,” says Fundingsland. “It needs to stay alive.”
Fifteen years ago, Fundingsland began to think that printmaking might go the way of the horse and carriage as the MTV generation, whose short attention spans and need for instant gratification, began entering art schools. “I didn’t think they would want to fiddle with this medium,” he says. But in the hands of impassioned teachers, the tradition continues to be passed to a new generation of inspired artists.
Printmaking is also being kept alive by art collectors and gallery owners whose eye for the sheer beauty of a quality print will ensure its continuance. Fundingsland’s work, which has been exhibited in galleries around the world–a testimony to his giftedness and contribution to this field–has caught the attention of art connoisseurs. Though the accolades and success are an acknowledgement of his artistry, that is not his main motivation.
“In a way, I do it because I have to,“ says Fundingsland. “I’m passionate about prints.”
This passion has enabled him to make a statement, to say something about what is going on in the world. Ever since printmaking began, printmakers have cajoled, teased and disarmed their way into the social consciousness. It is a perfect vehicle for Fundingsland.
“I think that living in an isolated part of the Southwest is an advantage. I’m not being influenced by anything or anybody. I’m just sitting here in Bayfield, Colorado, listening to the radio, and I get outraged by what I hear and read.” That outrage has fueled an outburst of printmaking packed with political and social commentary–art that elevates the conversation–and, for Fundingsland, keeps his work alive.
“I love this medium. I love work that makes you think,” he says.
Ron Fundingsland, known in the Four Corners as “Jazz Man” because he has hosted a jazz program on KSUT radio for the past 12 years, lives and works in Bayfield. His work is represented in Colorado by Robischon Gallery in Denver and Shy Rabbit Contemporary Arts in Pagosa Springs. To learn more about his artwork, visit http://www.ronfundingsland.com.
Jan Judy Dixon is a freelance writer who arrived in Southwest Colorado three years ago, looking for a place where she could catch her breath after 22 years of city living. She and her two cats, Ollie and Emma, live near Cortez. She is an internationally certified coach, editor and writer. She may be reached at janincolorado@msn.com.
Pictured:
American Beauty (diptych), aquatint/etching, 24” x 24”
(photo by Sonja Horoshko from studio visit)
Holster Clocks, aquatint/etching, 18” x 24”
Hush (diptych), aquatint/etching, 24” x 24”
