ARTIST SPOTLIGHT
Dave Lefner
Photos by S E R E N A C R E A T I V E
Words by J A K E K E N N E D Y
LA’s Dave Lefner makes huge reduction prints, but his ambition and
skill are bigger still. Working from his own photos and to enormous
scale, he repeatedly tricks the viewer into thinking they’re looking
at a photo. But how could photos ever look so perfect?
THIS ARTICLE WAS ORIGINALLY PUBLISHED IN ISSUE 3 (FEBRUARY 2018), WHICH IS NOW OUT OF PRINT.
THE DIGITAL VERSION (PDF) OF ISSUE 3 IS AVAILABLE FROM WWW.PRESSINGMATTERSMAG.COM/BUY-MAG
“I love every aspect of
the medium. Nothing
gets stale because each
part of the process is a
different mindset.”
DAV E L E F N E R
I
t was 25 years ago when printer Dave Lefner first pulled
a reduction linocut. Yep, that’s right. These images
you see on the page are all reduction linocuts – one
of the fiddliest, most intricate forms of printing, where
registration is everything and all can be lost at the final
stage, undoing weeks of work in a single stroke.
Look again. These pictures of neon signs, classic Americana
and hoardings from a faded US era have all been carved by
hand, many at massive scales (one measures 62” across)
and printed off in countless layers to give the requisite
depth and shadow. They’re not photos (although they are
based on Dave scouting with a camera), but they have a
hyper real feel to them. One piece, The Rialto, was made
with 17 different colour stages. “It’s so heavy,” Dave says.
And people, understandably, love them. Now working
full time as a printer in a studio surely cooler than any
we’ve seen, Dave says printing still doesn’t feel like a job.
“The first – and biggest – factor, is that I love what I do,”
he says. “It sounds cliché, but I feel like it's my reason
for being here on this planet. Also, I love every aspect of
the medium. Nothing gets stale because each part of the
process is a different mindset: doing the original drawing
requires certain skills, carving the block is another, mixing
and applying the ink another, and so on. It's not just
standing in front of an easel.”
Dave says that his early life as an artist was actually founded
in graphics, which might explain the precision of his later
work. “It was because I always had a love of fonts and type
and, also, it sounded like a real profession. But I really
always knew I wanted to be an Artist with a capital A.
I wasn't sure exactly what that path would be. I went to
“The graphic quality of the medium
immediately appealed and if I took
the time to carve a hard clean line
on the block, I was rewarded by a hard
clean line printed on the paper.”
DAV E L E F N E R
every gallery and museum opening I could, trying to find
inspiration, but all I found was frustration. I saw a lot of
‘Art’ that seemed be thrown together, or created just trying “I've always
to be original for originality's sake. It seemed concept was loved the design
more important than talent or execution,” he explains.
and optimism
“I always had an artistic ability, and I wanted to do of Americana
something that required use of those innate skills. I took
drawing, painting and sculpture classes, but nothing really in the 1950s
clicked. It seemed like I’d seen it all before. Then I took a and 60s, and I
beginning printmaking class and, needless to say, it changed
my life. From carving and printing my very first woodcut, I try to replicate
just knew it was for me. The graphic quality of the medium that, even in the
immediately appealed, and if I took the time to carve a hard
clean line on the block, I was rewarded by a clean hard line
colours.”
printed on the paper after I inked it.”
DAV E L E F N E R
So the path to the crisp, immaculate prints you see before you
had begun. It opened up a new world to Dave. “I suddenly
felt like an artisan of old, practicing true craftsmanship, and
regardless of subject matter, one had to master the technique
to even begin to call oneself an artist. When the class moved
on to linoleum, I discovered a book about Picasso's series
from the 1950s of his innovative reduction linocuts. I pored
over every page, trying to take in everything I could. The
reduction process required an even greater skill set, as well
as a different way of looking at the piece from beginning
to end. I had to give over to the mystery of that process. I
became fascinated by it, and I still am to this day...”
Then other, more urban influences started to creep into
Dave’s work. “My main influence for subject matter started
with Stuart Davis, a New York painter from the 1920s. He
started abstracting on the urban landscape of NY, including
bits of signage, and lettering. My early work shows this direct
influence. When I started taking pictures of the Los Angeles
urban landscape for photo reference, I began to notice all
the cool neon signs and I became fascinated by the shadows
that were cast from the tubing. From then on, I challenged
myself to go for realism, but not photo-realism. I wanted
to fool people from a distance, but I always want them to
get up close and see that it was a result of flat colours on
top of flat colours to create the illusion. I always want the
process to be as much a part of my art as the subject matter.
Also, I realised how much I liked, not only the iconic, big
DTLA Broadway theatre marquees, but the small, aging
mom-and-pop businesses that sold liquor, lodging or dry
cleaning. As time went on, the influence of Andy Warhol's
love of the common object and Ed Ruscha's use of lettering
has certainly crept into my work too.”
“I'm definitely the only artist in my galleries
whose main medium is a form of printmaking.”
DAV E L E F N E R
“The trajectory of my life and career completely shifted. Having the space to create,
as well as having a built-in venue to show my work twice a year just by opening
my door, has led to so many pivotal moments in my journey in art. Even now, I
still look forward to each Artwalk. I get a chance to interact with people who want
to see art and I can explain my process to those who may not understand how it's
created, all without leaving the comfort of my own home!”
In terms of the equipment Dave uses in the space, there are tried and tested
methods alongside newer experiments, he says. “I own three presses. The first I
found for $50 while I was in college. It's a 1925 Vandercook Truss Proof Press
meant for proofing a single letterpress plate. But since letterpress is basically relief
printing it worked great for my linocuts. However, I'm limited to a bed size of
18"x12". I recently bought 50 drawers of some amazing lead type, so now I'm
using it to experiment with letterpress and linocuts together. I have another small
standard roller hand-cranked press, which I still use constantly for small prints.
But my true love is my 50"x30" Conrad hand-cranked monotype press. I made
the investment about 15 years ago and it changed my life. I also have a large drying
rack, which is invaluable, since I used to have to hang the prints on clotheslines all
over the studio.”Needless to say, all the investment paid off, and Dave is now in
the envious position of printing for a living. “I'm represented by two galleries right
now, with generally one solo show a year at each. They're usually spread out about
six months apart, so I have time to create new work. But because I do editions,
albeit small ones, it’s not unusual for each gallery to have some of the same pieces.
Fooling viewers – making them have a moment of realisation that somehow I also currently have a museum exhibition – sort of a mini retrospective – that's
enhances Dave’s work, has become a key part for him. “It’s absolutely a moment been running since August.”
I love. The artist community where I live has two annual open studio events,
where thousands of people come through the studio (also, our home!). So, unlike So how does it feel? “I say with all humility, that I feel blessed to be living the
galleries where I'm not there most of the time, I get to see first-hand as people dream. Also, as a bit of a side note, I have to admit to a certain sense of pride by
walk around looking at my work. However, most of the time, that "a-ha moment" the success I've had in spite of being a printmaker! I'm definitely the only artist
doesn't come until I show them the process. They usually think they’re doctored in my galleries whose main medium is a form of printmaking. We live in a world
photos or something. But then, as they look at the work again, you can see a where painting and sculpture take centre stage! It's just not fair!” Fair or not, Dave’s
different appreciation in their eyes.” prints have come to represent a retro America, a more innocent one perhaps, in a
time when the country is anything but. “The universal theme running through all
Dave’s workspace also warrants a mention, and will seem a world away from the my work is definitely the ‘vintage’ element,” he says. “I've always loved the design
bedroom and box room spaces of many home printers. “Nineteen years ago, I and optimism of Americana in the 1950s and 60s, and I try to replicate that, even
found out about an open studios event at an artist community near Downtown in the colours. Occasionally I use Permanent Red straight out of the tube, but
LA at a place called the Brewery,” he remembers. “Now, I was born and raised in every other colour is specifically mixed by me for each piece, where I often warm
Los Angeles but I’d never heard about the place. They say it's the world's largest the colours for that nostalgic feel.”
artist live/work colony, with 310 lofts. Twice a year, most of the artists would open
the doors of their spaces for a free public viewing called Artwalk. Thousands of So look again, and then again, and try and get a feel for the work and love that
people attended the event. It was absolutely amazing, like nothing I could have went into these pieces. It seems you can make anything happen if you dedicate
ever imagined. It was just big, beautiful raw industrial spaces for creative types. I enough time to it. Even dreams.
knew I just had to live here, and despite being warned about a long waiting list, I
secured a loft in about a month. The rest is history! www.davelefner.com
Watch.
CLICK ON IMAGE TO LAUNCH
A SHORT FILM BY
SERENA CREATIVE
“Over an 8 month period, we had
the wonderful opportunity to
document the inspiring talent of
Los Angeles artist, Dave Lefner.
We’ve always enjoyed the visceral
quality of his work, but now have
a very fond appreciation for this
incredibly passionate, dedicated
and humble artisan.
Dave chooses the rarely used
medium of reduction linocuts to
express his love for the City of
Angels as well as preserve the history
of it’s ever changing urban landscape.
Whether it’s found in the extreme
shadows cast from a broken neon
sign at midday or in the intricate
web of power lines crisscrossed
overhead, Los Angeles provides
him the perfect inspiration for his
detailed linoleum block prints.”
www.serenacreative.com/lefner
Update.
CATCHING UP WITH DAVE LEFNER • APRIL 2020
WHAT HAVE YOU BEEN UP TO SINCE WE SPOKE TO YOU century design that I wish to show in most of my work. The piece measures HOW WOULD YOU RECOMMEND PEOPLE GET STARTED PRINTING
FOR YOUR ARTICLE IN ISSUE 3? 28in x 65in overall and took 12 color stages to complete. I have to admit that USING THE REDUCTION LINOCUT TECHNIQUE?
I can’t believe it’s been two years since my feature in Pressing Matters! Time sure it was a labour of love, as doing a reduction linocut that large, using that many First, research the Master, Pablo Picasso, and look up his series from the 1950s.
flies when you’re having fun! Well, I guess the top three things that happened colors can be a little nerve-racking. After every stage, I considered it a small Then don’t get too ambitious, too fast. Create a nice, simple design, and not
since then were unique exhibition opportunities. The first, I allude to in the victory to still clearly see the white of the paper in those places where I had more than 3 colors… using a light, mid-range, and dark, possibly even in the
article, which was having the privilege of being featured in a five-month solo carved away the block at the very first stage! same color.
exhibition of my work, “LA Redux: Reduction Linocuts by Dave Lefner” at
the Pasadena Museum of California Art (PMCA). This was a very special CAN YOU LIST OUT SOME GOOD ONLINE RESOURCES
institution to me personally, because it was a place where I saw some truly HAVE YOU DEVELOPED YOUR STYLE OR TRIED NEW TECHNIQUES? FOR THE TECHNIQUE?
inspiring shows; Corita Kent and Frances Gearhart, among them. And if that Even after 27 years, I feel I’m continually trying to challenge my skills through I’ve never really thought of looking. But I’d be happy to tell you what materials
wasn’t enough, I got to meet and talk with Mr. Wayne Thiebaud! During that larger scale and more and more detail through the reduction process. This is I use! Everything I use, I can basically get through Blick Art Materials
five-month duration, I hosted seven block printing workshops at the museum always my goal. But that being said, I’ve also been playing around with yet - https://www.dickblick.com. My linoleum is Blick Battleship Gray Unmounted,
and was featured in a Los Angeles Times review of the show. another “Alphabet series”, in which I’m creating a single letter by carving two Pkg of 3 Pieces 24in x 36in. It’s shipped flat, so you don’t have to worry about
separate blocks; one being an actual font of a letter, and the other representing the curve of a roll. (it makes a big difference!) My inks are Cranfield Traditional
My next opportunity was a three-person exhibition in March of 2019, the same letter in neon, stylized to be printed in one color. These blocks can Relief Inks (oil-based). They come in 500 g cans or 75 ml tubes. I hate the waste
"Typolino: La typographie en linogravure", at Le Musée de l’imprimerie de then be re-used (something I’m not used to having the luxury of doing!), to of ink from cans, even if you change the skins, so I only use the 75 ml tubes.
Nantes in France. Unfortunately, I was unable to attend. But later that year, I create words. It’s been a fun way to experiment (see “ART” print below for an It’s a little less cost-effective, but with a tube wringer, I can get every bit of ink
had two pieces selected by the prestigious, Royal Society of Painters-Printmakers example of this technique. out. Also, I use the Wiping Compound/Tack Reducer to modify/control the
for “The Masters Relief ” exhibition at the Bankside Gallery in London. Despite consistency of the ink. And the paper I use is Rives BFK Heavyweight. I’m not
having several collectors in the UK, this was the first time my work was shown sure if it’s a top “printmaking” paper, but I love it. It’s heavy enough to accept
in a gallery. And I am happy to report that my wife and I had already previously a lot of layers of ink, but be careful… it can also crease easily if mis-handled.
booked a trip to Europe at that time and we were able to make the opening!
It was a nice show and I was able to meet a few of my favorite printmakers
on Instagram. CAN YOU SHARE SOME INSTGRAM PROFILES FOR ARTISTS THAT
YOU LIKE THAT PEOPLE CAN CHECK OUT?
CAN YOU TELL US A LITTLE ABOUT A COUPLE OF YOUR I have to admit, most of my favorite printmakers are from the UK. Here’s eight
RECENT PROJECTS FEATURED IN TEH FOLLOWING PAGES? of my favourites, in no particular order…
As always, I’m wanting to work bigger and bigger, and in the last few years I
did just that. Nick Morley is probably the one artist/printmaker who I’ve known of the
longest, even before Instagram @linocutboy
For a long time now I’ve wanted to create large compositions using images
Ieuan Edwards @ieuanedwards_bgp
of individual neon letters to spell out specific words. This would require a
reduction linocut for each letter in the word, with editions of at least 10 for Alexandra Buckle @alexandra.buckle
each letter. Eventually, my plan is to do the whole alphabet, but for now, I’m HAVE YOU BEEN DOING DEMOS, HOLDING WORKSHOPS OR
Pernille Sand @persilleand
doing the letters according to the words I want to create. “BEAUTY” was the MORE OPEN STUDIOS?
first word I started on. Obviously, it required six letters, each measuring 17in x As mentioned above, I taught seven Basic Block Printing Workshops during Jennifer and Jo @starshapedpress
11in, with each reduction linocut averaging almost 8 colors. In the end, it was the run of my exhibition at the PMCA. Also, as mentioned in the magazine, I Kari Kristensen @theprintmakerandherdog
a total of 47 colors between the six blocks. All framed up, the piece measures always open up my studio for the bi-annual, Spring and Fall, Brewery Artwalk
25in x 80in. Since then, I’ve done the words “LOVE” and “JOY”, as well. in the art community where we live. But obviously, this year the Spring event Mary Lynn Blasutta @blasutta
was cancelled due to the COVID nightmare. I was so bummed, as it’s always Elina Adrshina @elina.artist
“Endless Summer” (Diptych) is one of my latest large pieces. The image is of such a great opportunity to show new work and talk to the public about the
Kelly Reemtsen @kellyreemtsen
a 1946 Ford Woodie, that absolutely embodies the sunny optimism of mid- process… all from the comfort of my home/studio!
New Work. “THE SKYVIEW MOTEL”
• REDUCTION LINOCUT
A SELECTION OF MORE RECENT PR0JECTS • 11 COLORS
• EDITION OF 7
• 34” X 20”
New Work.
A SELECTION OF MORE RECENT PR0JECTS
“ENDLESS SUMMER”
(FORD WOODIE)
• REDUCTION LINOCUT
• 12 COLORS
• EDITION OF 6
• 28” X 65”
New Work. “BEAUTY”
• 6 REDUCTION LINOCUTS
A SELECTION OF MORE RECENT PR0JECTS
• 47 COLORS TOTAL
• 20” X 74”
New Work. “THE GALAXY MOTEL”
• REDUCTION LINOCUT
A SELECTION OF MORE RECENT PR0JECTS • 11 COLORS
• EDITION OF 6
• 30” X 20”
New Work.
A SELECTION OF MORE RECENT PR0JECTS
“SINCE 1968”
• REDUCTION LINOCUT
• 7 COLORS
• EDITION OF 3
• 17” X 34”
New Work.
A SELECTION OF MORE RECENT PR0JECTS
“THE EDSEL”
• REDUCTION LINOCUT
• 7 COLORS
• EDITION OF 8
• 20” X 35”
New Work.
A SELECTION OF MORE RECENT PR0JECTS
“ART”
• 6 LINOCUTS
• 4 COLORS
• OPEN EDITION
• 16” X 35”
Studio Gallery.
TAKE A WALK AROUND DAVE'S AMAZING STUDIO SPACE
Studio Gallery.
TAKE A WALK AROUND DAVE'S AMAZING STUDIO SPACE
Studio Gallery.
TAKE A WALK AROUND DAVE'S AMAZING STUDIO SPACE
