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Work Samples

Adrift

digital photography, paper installation, art, installation, monotype, printmaking, large scale
Adrift, installation of repurposed monotypes, ultimately shown as an archival inkjet print on matte paper, edition of 5, 2022

Falls to Flames

paper installation, art, installation, monotype, printmaking, large scale
Falls to Flames, monotypes and ink on tracing paper, 9’ x 33’ x 3’ at outer dimensions, 2022

Soak/Scorch

paper installation, art, installation, monotype, printmaking, large scale
Soak/Scorch, ink and acrylic on tracing paper (repurposed from Singe,) 9’ x 7’ x 3’, 2022

Breaking Wave

paper installation, art, installation, monotype, printmaking, large scale
Breaking Wave, ink monotypes on tracing paper, 9.5’ x 16’ x 8’ at outer edges, 2021

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About Caryn

Baltimore County

Caryn Martin's picture
Caryn Martin, a Baltimore-based multidisciplinary artist, uses the ever-changing atmospheric conditions of landscape as a metaphor for the shifting nature of human emotion, while also reflecting on the tenuous state of the environment. She received a BA in Studio Art from University of Maryland, College Park and her MAT and MFA degrees from Maryland Institute College of Art. Martin has taught color theory, two-dimensional design, and introductory time-based media classes at MICA. She has shown her work... more

Fire/Water

In my recent paper installations, I am interested in bringing form to the intangible. These large-scale compilations of monotypes shift between intention and improvisation as I construct layered, atmospheric wall pieces. The works are contained but also break the traditional frame; they feel both unified and divided, heavy yet light.

This interest in dualities has driven my most recent work, informed by the contrasting weather patterns and water levels across the United States. My siblings live in areas of the country that experience fires and devastating drought, while I tackle storms and tornado warnings on the east coast. These experiences, coupled with images of forest fires, storms, and flooding, have influenced the works you see in this series. Whenever possible, I utilize repurposed materials–allowing one piece to fuel the next.

  • Singe

    paper installation, art, installation, monotype, printmaking, large scale
    Singe, ink and acrylic on tracing paper (repurposed from Falls to Flames,) 6’ x 8’ x 4’ at outer dimensions, 2022
  • Soak/Scorch

    paper installation, art, installation, monotype, printmaking, large scale
    Soak/Scorch, ink and acrylic on tracing paper (repurposed from Singe,) 9’ x 7’ x 3’, 2022
  • Detail, Soak/Scorch

    paper installation, art, installation, monotype, printmaking, large scale
    Detail, Soak/Scorch
  • Falls to Flames

    paper installation, art, installation, monotype, printmaking, large scale
    Falls to Flames, monotypes (repurposed from Water’s Edge) and ink on tracing paper, 9’ x 33’ x 3’ at outer dimensions, 2022
  • Detail, Falls to Flames

    paper installation, art, installation, monotype, printmaking, large scale
    Detail, Falls to Flames
  • Mist to Ash

    paper installation, art, installation, monotype, printmaking, large scale
    Mist to Ash, monotypes, ink, and acrylic on tracing paper, mounted to unstretched canvas, 84” x 82”, 2022
  • Falls to Flames II

    Falls to Flames II, site-responsive piece created at Gallery B, Bethesda, 8.5' x 9' x 4', repurposed prints from Falls to Flames I, 2022
  • Detail, Falls to Flames II

    Detail, Falls to Flames II

Air/Ice

This body of work was created while in residency at the Virginia Center for the Creative Arts in 2022. For these installations, I continued to use materials and processes that reflect the fragility and ephemerality of our natural world. As I installed these pieces, I was interested in creating a sense of "weight" overhead, while also focusing on the translucency of the materials. Heavy clouds, unpredictable weather patterns, and melting glaciers were on my mind as I slowly transformed the space.

  • Adrift

    digital photography, paper installation, art, installation, monotype, printmaking, large scale
    Adrift, installation of repurposed monotypes, ultimately shown as an archival inkjet print on matte paper, edition of 5, 2022
  • Drift/Slip

    paper installation, art, installation, monotype, printmaking, large scale
    Drift/Slip, site-specific installation, size variable, repurposed monotypes and ink on tracing paper, 2022
  • Drift/Slip view II

    paper installation, art, installation, monotype, printmaking, large scale
    Drift-Slip view II, site-specific installation, size variable, repurposed monotypes and ink on tracing paper, 2022
  • Drift/Slip view III

    paper installation, art, installation, monotype, printmaking, large scale
    Drift/Slip view III
  • Detail I, Drift/Slip

    paper installation, art, installation, monotype, printmaking, large scale
    Detail I, Drift/Slip
  • Detail II, Drift/Slip

    paper installation, art, installation, monotype, printmaking, large scale
    Detail II, Drift/Slip
  • Heavy Skies

    digital photography, paper installation, art, installation, monotype, printmaking, large scale
    Heavy Skies, site-specific paper installation, ultimately shown as an archival inkjet print on matte paper, edition of 5, 2022
  • Overhead

    paper installation, art, installation, monotype, printmaking, large scale
    Overhead, site-specific paper installation, size variable, ink and tracing paper, 2022
  • Drift/Slip walk-through

    Video documentation of Drift/Slip

Waves/Current

Water, used as subject, medium, and change agent, is an important element of my studio practice. After intense storms and flooding near my home, I began focusing on shifting bodies of water as a metaphor for forces beyond human control, while also considering the emotional impact of these forces. The large scale of these installations is integral to the work, as seen in “Slipstream” and “Breaking Wave.”

"Water's Edge," a site-specific installation at the Northern Virginia Community College, included prints from "Breaking Wave," and allowed me to create a full-gallery immersive experience for the viewer. Although the blue hue of the piece was beautiful in its initial impact, traversing the space made one aware of the vulnerability of the materials. The viewer literally needed to 'tread lightly' to make their way through and around the piece.

Stratus

At the start of 2020, I experimented with installations that appeared to push off the wall, as though they were resisting their own boundaries. Monotype printmaking was at the core of this work; as I began my process, a plexiglass plate was inked once, using marks that implied patterns and forms found in nature. I then added water in multiple stages and pulled many prints until the ink was fully removed from the plate, resulting in monotypes that appeared to evaporate into the atmosphere. The paper was allowed to curve, curl, wrinkle, and warp as it responded to the water and ink.

“Unmoored” is an example of this process–each vertical print was created from a single inking of the plate, and subsequent additions of water. The prints were then installed to create a “scape” that is almost visually unified, but then falls apart at the seams. "Stratus III,” assembled from remnants of monotypes, also captures an atmospheric shift. This large composite references cloud formations, landscape, and other geological forms in its layers of abstract black and white prints.

  • Tempest

    paper installation, art, installation, monotype, printmaking, large scale
    Tempest, ink monotypes on tracing paper, 9’ x 8’ x 5” at outer dimensions, 2021
  • Monuments and Rivers

    paper installation, art, installation, monotype, printmaking, large scale
    Monuments and Rivers, ink monotypes on tracing paper, 10’ x 17’ x 2”, 2020
  • Monuments and Rivers view II

    Monuments and Rivers view II, ink monotypes on tracing paper, 10’ x 17’ x 2”, 2020
  • Unmoored

    paper installation, art, installation, monotype, printmaking, large scale
    Unmoored, installation of ink monotypes on plotter paper, 10’ x 15.5’, 2020
  • Stratus III

    paper installation, art, installation, monotype, printmaking, large scale
    Stratus III, monotype remnants mounted to unstretched canvas, 63” x 108” x 3”, 2020/2021
  • Stratus II

    paper installation, art, installation, monotype, printmaking, large scale
    Stratus II, monotype remnants mounted to unstretched canvas, 72” x 46” x 3”, 2020/2021

Between

In 2020, as a friend slipped into an advanced state of dementia, the world was also shifting into quarantine. In late spring of that year, I began “Laurel” a 3-minute film that incorporates sound, video, and low-opacity cyanotype abstractions. While gathering footage, I explored the urban park and stream in my neighborhood–a place of contemplation and an escape from the confines of my home. I reflected on the unknown state of my friend’s mind: was she caught between spaces and realities?
This question became the impetus for the film, and a driving force behind the aesthetics, score, and ambient sound.

Score: Patrick J. Martin

Unanchored

These mixed-media works, inspired by sudden storms, bodies of water, fire and smoke, are created from repurposed monotype remnants, acrylic, and ink. While my large-scale installations are temporary and ever-changing, these collages contain the materials in a more permanent form. In these works, the shifting elements–water, fire, mist, and air–are held for a moment in time. 

  • Freeze

    mixed media, painting, collage, landscape
    Freeze, monotype remnants and acrylic on panel, 16" x 20", 2022
  • Night Sail

    mixed media, painting, collage, landscape
    Night Sail, monotype remnants and acrylic on panel, 16" x 20", 2022
  • Downpour

    mixed media, painting, collage, landscape
    Downpour, monotype remnants and acrylic on panel, 11" x 14", 2021
  • Capsized

    mixed media, painting, collage, landscape
    Capsized, monotype remnants and acrylic on panel, 6" x 6", 2022
  • Night Skin

    mixed media, painting, collage, landscape
    Night Skin, monotype remnants and acrylic on panel, 6" x 6", 2022
  • Sudden Storm

    Sudden Storm, monotype remnants and ink on panel, 6" x 12", 2021 (private collection)
  • Squall

    mixed media, painting, collage, landscape
    Squall, monotype remnants and acrylic on panel, 30" x 60", 2021
  • Sailor's Warning

    mixed media, painting, collage, landscape
    Sailor's Warning, monotype remnants and acrylic on panel, 6" x 6", 2022
  • Brush Fire

    mixed media, painting, collage, landscape
    Brush Fire, monotype remnants and acrylic on panel, 6" x 6", 2022
  • Crimson

    mixed media, painting, collage, landscape
    Crimson, monotype remnants and acrylic on panel, 40" x 30", 2022

Unanchored, Part II

A continuation of  the Unanchored series:
These mixed-media works, inspired by bodies of water, atmosphere, and weather patterns, are created from repurposed monotype remnants, acrylic, and ink. While my large-scale installations are temporary and ever-changing, these collages contain the materials in a more permanent form. In these works, the shifting elements–water and air–are held for a moment in time. 

  • Weeping Willow

    mixed media, painting, collage, landscape
    Weeping Willow, monotype remnants and acrylic on panel, 40" x 30", 2021, (private collection)
  • Cypress

    mixed media, painting, collage, landscape
    Cypress, monotype remnants and ink on panel, 40" x 30", 2021, (private collection)
  • Shore

    mixed media, painting, collage, landscape
    Shore, monotype transfers and ink on panel, 8" x 8", 2020, (private collection)
  • Night Rain

    mixed media, painting, collage, landscape
    Night Rain, monotype remnants and acrylic on panel, 8" x 8", 2021
  • Valley

    mixed media, painting, collage, landscape
    Valley, monotype remnants and acrylic on panel, 10" x 8", 2021, (private collection)
  • Tomorrow's Storm

    mixed media, painting, collage, landscape
    Tomorrow's Storm, monotype transfers and acrylic on panel, 8" x 6", 2022
  • Night Stream

    mixed media, painting, collage, landscape
    Night Stream, monotype remnants and acrylic on panel, 10" x 8", 2022
  • Wave Breaking

    mixed media, painting, collage, landscape
    Wave Breaking, monotype remnants and acrylic on panel, 15" x 20" at outer edges, 2021

Connect with Caryn

Caryn's Curated Collection

This artist has not yet created a curated collection.