If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill shows us why. Creating large-scale relief prints from cross sections of trees, Gill reveals the sublime power locked inside their arboreal rings, patterns not only of great beauty, but also a year-by-year record of the life and times of the fallen or damaged logs. The artist rescues the wood from the property surrounding his studio and neighboring land, extracts and prepares blocks of various species—including ash, maple, oak, spruce, and willow—and then prints them by carefully following and pressing the contours of the rings until the intricate designs transfer from tree to paper.
Ash, 2003 49¾ � 46¼ inches This was the first relief print I created from a tree cut. When I pulled the print, I was surprised and inspired by how well the details of the block transferred to the paper. The outline is sharp and the growth rings are discrete. Also present are checks, or cracks, from the curing of the block and several marks from cutting and sanding the surface (evident in the top center of the print). 82 years printed 20 woodcut