Today we’d like to introduce you to Vanessa Jo Bahr
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I discovered printmaking during freshman year of my undergraduate career in Denver, Colorado at Regis University. During the 1st week of classes, I met the printmaking professor in the art gallery on campus. They mentioned they needed a TA (teacher’s aid) for their class. I had no idea what printmaking was but they glanced at my sketchbook and told me, “I think you’re going to like it.” They allowed me to received credit for the Intro. course while getting paid as a work study employee. I remained the TA for all levels of the printmaking courses and the studio monitor for the remainder of my 4 years there.
I had a key to the studio and used it to the fullest potential. I immediately took to printmaking due to its ability to produce multiple originals which allow you to create editions of prints that can be easily disseminated. If it weren’t for making prints for bands and music festivals outside of my academic obligations, I never would have been able to afford the living expenses required to successfully get through college.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
As a creator, I am no stranger to struggle. Being an artist is all about resiliency and perseverance. Printmaking specifically has an exorbitant amount of experimentation embedded within the practice. It requires a keen ability to continue to push forward through countless less than deal outcomes in the studio. As a heavily process based medium, you have to have an open mind and be ready for some projects to completely fail. More importantly, you have to embrace those failures, learn from them, and have the courage to get back in the shop and try again. “Nothing beautiful without struggle” is a quote by Plato that often plays in my head while working.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
Currently my main printmaking process of choice is Intaglio, specifically copper etching. I am absolutely obsessed with the material and am continually challenged and intrigued by the magical properties of the metal. Intaglio is an umbrella term that a wide array of processes fall under, including: etching, aquatint, sugar lift, spit bite, mezzotint, dry point, etc. The rich history of the medium is extremely attractive and its ability to capture finite details keeps me enticed and constantly wanting to learn more and push it further. I feel as though I could remain entirely content pursuing Intaglio for the rest of my artistic career and still not even get close to scratching the surface of the endless possibilities it possesses.
Are there any important lessons you’ve learned that you can share with us?
You have to have relentless faith in the unknown. There will be many phases of your artistic journey where you are uncertain of where to go next, but you have to keep moving in a direction and the path will unfold. You must continue to make your work not knowing if it will sell, if people will like it, where you will show it, or what the point of it all is, but you have to continue creating regardless. By pursuing your craft and remaining true to your artistic practice, the opportunities will reveal themselves in due time. Keeping the wheels in motion and the momentum moving forward is paramount.
Contact Info:
- Website: https://www.vanessajo.studio
- Instagram: https://www.instagram.com/vanessajobahr/
