By Ron Evans
Reinaldo Gil Zambrano, known as RGZ, is a Venezuelan-born printmaking artist, muralist, and community organizer based in Spokane, Washington. His practice encompasses a range of media, from intricate printmaking techniques and documentaries to large-scale murals, all deeply rooted in his cultural heritage and commitment to community engagement. RGZ’s work has earned national and international recognition, with exhibitions spanning the United States, Asia, Europe, and Latin America.
Currently serving as an Associate Professor of Printmaking and Drawing at Gonzaga University, RGZ brings a passion for education and mentorship to the next generation of artists. His teaching is complemented by his active role in the Spokane arts scene, where he is a co-founder of the Spokane Print and Publishing Center and the founder of Spokane Print Fest—two initiatives fostering collaboration and dialogue among artists and the wider public.
Dystopian Romance, Reduction woodcut print, 40” x 26”, 2024
RGZ brings a new collection of works called Galimatias to the MAC Gallery on Friday, March 7. I reached out to him to chat about his craft and workflow and to learn more about this exciting exhibit.
Talk about printmaking’s place in the current fine art domain. Do you think it’s getting more respect (in a world where painting seems to get all the attention)?
Printmaking is a medium for the masses. As with any medium that includes people from different strata, it offers a voice to the invisible and challenges the status quo, which often leads to it being pushed into a secondary state. Also, the fact that much of the printed matter is on paper leads to it being degraded to a lower status because of its “fragility.” Its nature of originating multiples is also regarded as something unoriginal by elitist collectors who seek the limited-edition object (unless there is profit in its reproductions). However, printmaking has always been there and will continue to be there, supporting community, versatility, and provocation—and it’s just badass, with a delicious graphic contrast.
There is a growing appreciation for the medium, and its value will continue to reside in the hearts of those who understand it and live it. But the art world often finds ways to bring it down. In the end, it will continue to find its place and be present in history as the medium that everybody uses (even your favorite historical painters made prints) while seeking emancipation from the curse offered by the ambiguous nature of the word “print.”
Has the process of teaching art had any major impacts on your own artistic journey?
Being in the classroom challenges you constantly. Students are always brewing ideas and contributing to discussions about concepts that keep you sharp. Also, they are all working on similar techniques with their ideas, so you gain more problem-solving experience. I can also use my experience in my practice to bring in the information I wish I had learned as an undergrad. Students often challenge you to stay up to date with art world trends and keep them fresh. Teaching is also tricky because it pushes you to carve out time to pursue your passion, despite the position’s responsibilities—reminding me that I am an artist who happens to teach.
Kismet, Reduction woodcut print, 18” x 24”, 2024
Have your students been stoked to work in analog—perhaps appreciating how “un-AI” the process is?
We are constantly using new technologies and tools to incorporate into the analog process. Students often use Adobe tools for design, photography for references, mixed media for surfaces, and even AI to generate ideas. Printmaking is a transformative process of its own, so any input you bring to it will be adapted to its unique characteristics.
Talk a bit about your work process. These are very intricate designs—are you plotting, refining, and using those drawings as a template for the print cutting? Do you draw right onto the block? How does this all work?
I often daydream when I go on walks, while doing dishes, or during conversations. I am constantly wondering and asking, “What if?” Sometimes, I put some of those ideas on paper and let them marinate until I am finally ready to resolve them. It takes time, but I have learned to accept my process as a ritual—the less I rush it, the better it is. Then, I draw straight onto the block, often allowing the piece to continue evolving and tweaking into its final form. Once it’s ready, I carve it and later print it. Each stage is both fun and challenging. It’s a rollercoaster of emotions, swinging from excitement to doubt so often. In the end, you push through, trust your instincts, and the final results appear—and it’s so rewarding. You enjoy the final print for a few minutes, and then you can’t wait to start over again.
Do you print out various colors and see what jumps out at you? Or do you tend to create with color (or lack thereof) in mind?
When I imagine the piece, I have a color palette in mind. There is a particular color that guides the composition. Then, I get to play around with different hues and saturations, modifying the ink and being surprised by the results. Also, working with my assistant, MEG (Madeline Goolie), has been a great experience—bouncing ideas off each other and pushing ourselves to find new color combinations for this Galimatias body of work.
Mors Toa, Vita Mea Litho and screen print monotype 24 x 28, 2024
Aside from printmaking, are you ever working in other mediums on a regular basis?
I have been working with Indian ink and acrylics for mural painting and digital tools to design renderings that will later be built into molds to cast concrete forms, embellishing the supporting structure of the North/South Corridor in Spokane, Washington. I have also been directing documentaries on printmaking and exploring storytelling in film form.
As an artist, are you always trying to convey a specific message or feeling? Or are you mostly expressing yourself and letting the viewer decide for themselves?
I do it unconsciously because my work is often a way for me to reflect on a current personal matter or understand the emotions related to external stimuli. I create something that satisfies my aesthetic taste and humor, then put it out in the world for people to bring their experiences and complete the narrative.
Talk about this upcoming exhibit at the MAC, and tell us about the title.
“Galimatias” means confusion or random thoughts. It describes the creative process behind this exhibit. It was a reflective process using sketching and allowing the drawings to evolve naturally, nurtured by sarcasm and irony.
Anything coming up you’d like to promote—beyond the MAC show?
We are working on developing our second international documentary with the Hello Print Friend podcast. This time, the film will be titled Impresiones de Resistencia and will focus on Puerto Rico’s graphic history of using printmaking as a tool for resilience and survival.
Links/Socials: Instagram: @Rgzprints
Website: rgzprints.com
Podcast: helloprintfriend.com
Reinaldo Gil Zambrano: GALIMATIAS
WVC MAC Gallery March 7 - April 25
First Friday Receptions March 7 and April 4, 5:00 - 7:00
Relief T-shirt Printmaking Workshop: March 8