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At Ann Korologos Gallery, master printmaker Joel Ostlind reflects on the quiet discipline and lifelong pursuit that define both his art and his outlook. Known for his finely detailed etchings of cowboys, wildlife, fishermen, and the expansive landscapes of the American West, Ostlind approaches each image as both challenge and privilege — a higher branch to reach for. In this conversation with Ann Korologos Gallery, he shares insights into the philosophy behind his handcrafted printmaking process, his reverence for the present moment, and the enduring inspiration he finds in Western life and open country.
AKG: have been a lot of inspiration and nothing has been taken for granted.” Will you tell us more about what inspires you?
Joel Ostlind: From so many people I have heard that the further along we have journeyed the harder we have to work. I’ve kind of figured out why art seems to go that way. All people tend to reach for a higher branch than the one they are hanging onto. Art is the branch I am on.
AKG: Any tips on not taking life for granted?
Joel Ostlind: It is good to recognize and appreciate how things have changed. But, it is so important to value the world around every day and not miss the present.
AKG: Your etchings sometimes come painted with watercolor – what started this process, and what do you love about it?
Joel Ostlind: Hand colored prints have been around forever. Beyond the value qualities of an inked print it is nice to color and push an etched image a bit further.
AKG: Your work often depicts cowboys, wildlife, fishermen, and outdoor life — what is it about these subjects that continues to draw your attention?
Joel Ostlind: There is a bit of hit and miss in drawing. So, when an image comes out right it feels pretty nice. Subject wise: I get a vicarious pleasure out of getting a gesture right for an image of casting a fly line better than I can or building a loop to rope with such skill.
AKG: You print each etching yourself and often make slight additions to each impression — what does that hands-on involvement mean to you artistically and philosophically?
Joel Ostlind: To print my own etchings lets me retain true ownership of each image. I feel that it holds the sense of fine art on a deeper level than if one artist starts something and has someone else finish the job. Each print that I have pulled has, on the lower right corner of the paper, an embossed proof that I did the printing.
AKG: Few of our clients know that you’re a (not-so-secret) muralist. It’s hard to imagine going from these small etchings and illustrative style to your large murals. Can you tell us more about that? Working across these scales, the mediums, the vision?
Joel Ostlind: Designing a mural was a real reach for me. To go from a working size to the final dimensions was really something. I was so anxious to see if the visual jump would work. Teaming up with knowledgeable Lisa Norman was wonderful.
AKG: What do you love about working small while depicting such large, open landscapes and moments?
Joel Ostlind: Working on a smaller scale imparts a lot more power to each brush stroke or line. An image tends to look more gestural when it doesn’t require covering a lot of acreage.
