A swell coffee table companion for hip young DIY-ers who cultivate a lumberjack look that says they've come straight from splitting firewood, the new book Woodcut is also likely to appeal to a much wider audience. -- Wall Street Journal
It's a strangely moving experience to flip through Woodcut (Princeton Architectural Press, $30), a book of Bryan Nash Gill's relief prints of tree-trunk cross sections, which the artist harvests from felled trees, cedar telephone poles and discarded fence posts in his native Connecticut. One is struck by how Gill's method - cutting blocks with a chain saw, sanding them down, burning them and sealing them with shellac - amplifies the events in the life of a tree: lightning strikes, burgeoning burls, insect holes and, of course, the aging process, evidence of which radiates out in transfixing patterns. Verlyn Klinkenborg, who also writes for The New York Times, describes these cross sections in the book's preface as the death mask of a plant, the sustained rigor mortis of maple, spruce and locust. They remind us, he says, that every biological form possesses a unique footprint. --- T: The New York Times Style Magazine
With this mesmerizing series, Bryan Nash Gill doesn't just bridge the gap between abstraction and representation, object and subject-- he closes them. WOODCUT confirms Gill's place as one of the most inventive, inspired artists working today -- Tod Lippy, Esopus magazine
Redefining the traditional woodcut, Connecticut-based artist Bryan Nash Gill creates exquisitely detailed largescale relief prints of cut trees. Using wood sourced from the lumberyard and forest near his studio, Gill's\nlaborious process involves meticulously preparing the cross section, rolling ink over the cut, and carefully tracing and pressing the contours of each growth ring until the tree's pattern, character, and history transfer\nfrom wood to paper. Gill's mesmerizing prints are unique works of art and testament to the beauty in every tree.