Carrie Ann Plank is an artist working in the medium of printmaking. She exhibits nationally and internationally. Plank’s work is included in many private and public collections including the Fine Art Archives of the Library of Congress, the Achenbach Foundation for Graphic Arts, the Guanlan Print Art Museum in China, and the Iraq National Library in Baghdad. Recent and upcoming noteworthy shows include American representation at the International Print Art Triennial in Sophia, Bulgaria, the Liu Haisu Museum of Fine Art in Shanghai, China, and the Guangzhou Academy of Fine Arts Museum in Guangzhou, China. Recent and upcoming residencies include Druckwerk in Basel, Switzerland, Mullowney Printing in San Francisco, Haystack Mountain School of Craft in Deer Isle, ME, and Bullseye Glass in Emeryville, CA. Additionally, Plank is the Director of the Printmaking MFA & BFA Programs at the Academy of Art University. She is active in the local arts community as a participant, juror, and volunteer, and is a board member of the California Society of Printmakers. Plank also sat on the Steering Committee for the 2014 SGC International Conference. Plank is represented by San Francisco Museum of Modern Art Artists Gallery, and for artist books by Vamp and Tramp Booksellers. She received her Bachelor of Fine Arts in Printmaking from East Carolina University and her Masters of Fine Arts in Printmaking from the Pennsylvania State University.
In the past two years, I’ve worked with employing new technology to create printing matrices along with revisiting anachronistic printing techniques. This contrast between the processes of creating has impacted the way I view my aesthetics - leading to larger scale work including installations and variations in image development. With the implementation of the digital fabrication techniques I’ve created large-scale work that incorporates new technology and traditional techniques. I’m exploring information systems and how we visual process them, and I’m very interested in how these systems will read translated through the mash up of old and new printing technologies. Much of my work deals with reinterpreting and reorganizing visual information systems and how context shifts meaning. For this most recent series, I focused on how organic forms can be reduced to their base structure. The images, while derived from close scrutiny and observation, become abstracted and hard to place. The viewer is left with a distinct sense of familiarity but no concrete object.