Besides being very personal and exceptionally interesting images, the pictures you see on this page are limited edition, traditional etchings done by printmaker, Meg Perec. Some of them are really strange and wonderful, and all of them are highly accomplished works of a talented artist and craftsman. These are traditional etchings, done with lines acid-etched into copper and zinc plates. Ink is forced into these etched lines. Paper and plate are then cranked through an etching press, squeezing the ink from plate onto paper. Many of these images use multiple plates... one for each color, with a rich palette achieved on some prints by overlapping color upon color. Click on each thumbnail image and enjoy the rich imagery in detail. Meg is a recent art school graduate, so the prices on these limited edition prints are as low as they are ever going to be. Snap a couple of them up now before she gets too famous.

All Meg's prints are sold without mats or frames.

Marcia

$ 200.
Sheep and Goats
Paper size: 15x23 inches
Image size: 12x18 inches
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$ 200.
Tilled
Field
Paper size: 15x23 inches
Image size: 12x18 inches

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$ 200.
19 Portrait Heads in a
Landscape
Paper size: 15x23 inches
Image size: 12x18 inches

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$ 200.
Diving
Horse
Paper size: 15x23 inches
Image size: 12x18 inches

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$ 200.
The MeKong River
Catfish
Paper size: 15x23 inches
Image size: 12x18 inches

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$ 200.
Ten Consecutive Years
of Celibacy
Paper size: 12x17 inches
Image size: 9x12 inches

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$ 200.
Brotherly/Sisterly
Paper size: 15x23 inches
Image size: 12x18 inches
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$ 200.
Buried Elephant
Paper size: 15x23 inches
Image size: 12x18 inches
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I grew up on a small hobby farm with chickens, sheep, horses, ponies, rabbits, geese, dogs, and cats, and was allowed to have every animal I wanted as long as I did my chores. The time and labor required in keeping horses often comes to mind when I reflect on my choice of printmaking as an area of study. The process requires both physical and mental labor, and a lot of groundwork. Also, many of the memories and stories I use as source material when creating images go back to the time when my life was dedicated to the care of animals.

The prints are based on complex narratives which encompass the real and imagined, natural and cultural, historic and prehistoric. Many are based on stories I’ve known since I was young. Others are based on various lifelong fascinations involving everything from buried things to igloos to real and imagined monsters. A major theme in my work is the progression of living things through time and space and the environmental imprints they leave behind. Orchards and furrowed fields represent the vital link between human civilization and the natural cycle of the seasons; birth, harvest, and death. Agricultural images incorporate the death theme within the context of the cycle. Death is impermanent as the next generation has already been sown. Fossil imagery represents a decidedly permanent death, or extinction, not only of living things, but of thoughts, ideas, and stories.

I almost always draw from memory, imagination and dreams. Other source material comes from literature. The multiplicity and mutability of the print make it ideal for the creation of a menagerie of images that can be combined and overlapped to build visual narratives and tell stories. I intend to tell my stories using this process of creating and combining printed images.