bio:

Charles Spitzack (American, Pacific Northwest) was born in 1987 in Minnesota and raised in the Twin Cities.  He fell in love with print at Highpoint Center for Printmaking while attending Perpich Arts High School in Minneapolis, and continued his studies at Cornish College of the Arts in Seattle, receiving a BFA in 2010. His work is represented by Davidson Galleries & Mesh Art Gallery, published by Pomegranate Communications, and can be found in the Microsoft Art Collection, Mary Alice Cooley Collection, and the Southern Graphics Printmaking Archive. He has shown at the Tacoma Art Museum, the Bellevue Art Museum, Cascadia Art Museum, and the Museum of Northwest Art. In 2024 he won the “Kobaien Prize” at the International Mokuhanga (Japanese Woodblock) Conference in Echizen Japan. He currently balances life between working as a carpenter, creating art, teaching art, and serving as Board President for Seattle Print Arts, a Seattle-based arts non-profit focusing on printmaking.

artist statement:

I am a visual artist specializing in woodcut printmaking, a medium that allows me to explore both personal experiences and broader societal issues. My practice is rooted in the direct, intuitive process of carving and printing, where I am drawn to the tactile nature of the medium and its connection to the natural world. Using materials and tools derived from my surroundings, I embrace a hands-on approach to creation, and am empowered by the simple process woodcut printmaking provides.

Living in a fast-paced, technology-driven city, I view my work as an act of preservation and protest. The slow, deliberate, and tactile process of woodcut printmaking stands in contrast to the rapid pace of modern life. This perspective has led me to prioritize process over subject matter, often drawing me deeper into the exploration of technique. While the content of my prints evolves, I often explore themes such as equality, labor rights, environmental issues, and the plight of the working class.