Heaven in a printmaker’s hands
Lynne Allen’s works achieve the sublime at Martha Street Studios
Stacey Abramson

Cultures and processes collide and explode in Lynne Allen’s captivating Shortcut to Heaven, which comes after Allen’s short residency at Martha Street Studios.

The artist’s history and work are equally impressive. She is a master printmaker currently residing in Boston, Mass., and her work can be found in the collections of many prominent institutions around the globe. She has shown everywhere from Estonia to New Jersey, and she has received not one but two of the impressive Fulbright Scholarships.

Needless to say, her work is impeccable.

Aboriginal politics and themes are consistent throughout Shortcut to Heaven, but Allen approaches them from a rare perspective. In her artist statement she explains that she comes from a family of native matriarchs who had been suppressed by government schooling and assimilation.

“I have the writings of my great-grandmother, photographs and native beadwork, my mother’s baby moccasins, yet I am a white woman,” she states.

Her exploration of and pride in her blood and culture take her back generations, guiding her work through a process of understanding, equality and pride.

Allen not only brings challenging concepts and politics but also embraces contemporary printmaking methods. In several of these works, Allen combines digital images with traditional print techniques such as etching or chine colle. The results of this hybrid are stunning. Many pieces have such a layered effect to them, giving them a depth that single processes do not normally achieve.

The history of the assimilation of the aboriginal people in North America is dealt with in many ways, and the Cowboys-vs.-Indians theme is consistent throughout the exhibit. In How the West was Won, Allen scratches symbols and signifiers of aboriginal culture across a series of boot spurs.

Several delicate black-and-white etchings grouped together are quite separate in technique from the rest. Splattered and scratched, these works show a more traditional side of printmaking. Gun looks like it could have sprung from a nightmare with its frightening, sporadic lines and images.

One of the most stunning works is a fine example of Allen’s mastery of printing techniques. They Were as Numerous as Grass is a multi-layered piece created by a repeat process that saw Allen do everything from rolling brilliant hues to writing backwards in order to get the proper effect of wording on the page. Technical feats aside, the image is incredibly moving. A large, cow-like figure standing above a red-and-yellow background of words and symbols is breathtaking.

Such pieces are just a taste of what this show has to offer. It’s such a treat to see a clean, smart, challenging collection.