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One Especially for Ann © by KC Moore

December 6, 2011

She remembers the day she spent with her famous brother-in-law Robert Alan Smith.  She was a house guest with a personal, private instructor. Ann Smith describes how he demonstrated his technique of ‘pulling’ serigraphs.

The location was at his studio in Ojai “where he had all his equipment at the ready”.  The table itself was designed and constructed by Bob to accommodate his artwork.  “Big table, heavy armature to carry the squeegee, a full sheet of paper. . . .and Bob worked with a full arm, rhythmic  sweeps to apply ink – standing – then reaching over to pull squeegee across the paper” while explaining in detail every step.

She recalls that they worked all one afternoon, and states that it was seemingly effortless, a joy to him.  “I remember the rhythm with which he worked, the grace of his movement – and how the art just seemingly ‘evolved’.”

She had been studying the technique in a class at SDSU extension, Calexico with Marjorie Spencer who herself was cutting edge in the arts.  However, she says “My own experience was all boxed in – so bound by technique and rules that I missed the freedom of exploration and the ‘happening’ – which is probably what Bob wanted to help me experience.”

Today upon reflection she wishes that she had followed through and practiced, at least attempted, what he taught; but at that time “I thought life and art and silk screens would be there forever.”

Especially for Ann

Especially for Ann

This was the only piece they did, it’s a one-of-a-kind; it remains a family legacy, framed and under glass at her beach house.

What exactly is a serigraph?

The Little Lost Art Movement

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