Glossary
Etching

Etching

Etching is an intaglio printmaking technique where acid is used to incise lines or areas into a metal plate, creating channels that retain the ink.

Etching is an intaglio printmaking method that yields delicate, fluid lines, ranging from elegant and sinuous to precise and textured. It involves using an etching needle, a fine-pointed instrument, to draw on a metal plate coated with a thin layer of waxy ground, providing an easily drawable surface.

When the plate is exposed to acid, the waxy ground shields the covered areas, while the drawn lines are revealed and etched by the acid. After removing the coating, the plate is inked, filling only the etched lines. Damp paper is then pressed onto the plate and passed through a press, causing the paper to conform to the etched lines and absorb the ink.

49 results found for "Etching"

Artist

Miwa Komatsu

Miwa Komatsu was born in Nagano, Japan in 1984. She lives and works between Nagano and Tokyo.

Miwa Komatsu
Original work

Are We Building? #2

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Are We Building? #2
Original work

Minnesotan #3

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Minnesotan #3
Original work

Back #5

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Back #5
Original work

Back #4

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Back #4
Original work

Back #3

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Back #3
Original work

Back #2

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Back #2
Original work

Back #1

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Back #1
Original work

Under #3

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Under #3
Original work

Under #1

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Under #1
Original work

Under #2

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Under #2
Original work

Headland #3

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Headland #3
Original work

Headland #2

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Headland #2
Original work

Headland #1

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Headland #1
Original work

Minnesotan #1

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Minnesotan #1
Original work

Minnesotan #2

Bridget Mullen combines rhythm and repetition in a series of unique monotypes.

Consisting of 15 individually titled artworks, all differing in colour and form, the series pushes Mullen’s work in new directions. Combining oil based etching inks with extensive hand-finishing in vinyl paints, Mullen experiments with darker tones in a variety of overlapping compositions by enlisting ghost printing techniques. Guided by intuition – no preliminary studies or sketches are required – Mullen begins each monotype with repetitive mark-making and lets the process flow from there.

Created in collaboration with 10 Grand Press of New York, the prints are composed by direct painting onto plexiglass plates, running those plates through the press, repositioning them, then continuing that process until the ink runs clear. This method caters to Mullen’s impulsive creative process and brings movement and energy to her work.

Discover the series in full.

Minnesotan #2
Artist

Nicasio Fernandez

Nicasio Fernandez was born in 1993 in Yonkers, New York. He now lives and works in Mahopac, New York.

Nicasio Fernandez
Artist

SETH

SETH (he/him) was born in 1972 in Paris, where he lives and works.

SETH
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Glaring Shade

In Glaring Shade, Gribbon inserts Scott into various scenes through the matrix of the queer woman artist in the 21st century.

The series of 12 monotype prints draw attention to the act of seeing, not just for the artist and viewer, but also for the subject. The variations of print motifs each draw attention to Scott’s eyes, created by unique manipulations of a printing plate and inks. In one scenario, Scott blocks a spotlight light with her hand, a nod to her performance background. In another, she protects herself with an eyepatch, surrounded by an imagined greenscape inspired by art historical scenes. This playful approach to printmaking allows the viewer to empathise with Scott’s experience of seeing, whilst simultaneously questioning what it is to be seen.

Glaring Shade
Print

Once in my Life (diptych)

Javier Calleja debuts a once in a lifetime project with a pair of time-limited prints.

Based on defining original works from Calleja’s upcoming magnum opus, the editions will be available to all for 24 hours only – and can be ordered separately, or as a diptych.

Calleja’s endearing figures are led by emotion. The two sketches selected by the artist encompass his distinctive character stylings and use of irreverent slogans. A single phrase spans both works, revealed in full when they are seen together. Together, they nod to the significance of a project that has commanded two years of the artist's attention.

The editions translate original soft ground etchings into intricate hybrid prints. Areas of vibrant colour are enhanced by layers of varnish and red ink applied on a silkscreen. Finally, each print is authenticated with a bespoke artist stamp – unique to the edition.

100 Once in my Life T-shirts will be allocated at random when prints are dispatched. Worldwide shipping is free.

© 2023, Javier Calleja, all rights reserved.

Once in my Life (diptych)
Print

in my Life

Javier Calleja debuts a once in a lifetime project with a pair of time-limited prints.

Based on defining original works from Calleja’s upcoming magnum opus, the editions will be available to all for 24 hours only – and can be ordered separately, or as a diptych. in my Life is the left hand panel of the diptych.

Calleja’s endearing figures are led by emotion. The two sketches selected by the artist encompass his distinctive character stylings and use of irreverent slogans. A single phrase spans both works, revealed in full when they are seen together. Together, they nod to the significance of a project that has commanded two years of the artist's attention.

The editions translate original soft ground etchings into intricate hybrid prints. Areas of vibrant colour are enhanced by layers of varnish and red ink applied on a silkscreen. Finally, each print is authenticated with a bespoke artist stamp – unique to the edition.

100 Once in my Life T-shirts will be allocated at random when prints are dispatched. Worldwide shipping is free.

© 2023, Javier Calleja, all rights reserved.

in my Life
Print

Once

Javier Calleja debuts a once in a lifetime project with a pair of time-limited prints.

Based on defining original works from Calleja’s upcoming magnum opus, the editions will be available to all for 24 hours only – and can be ordered separately, or as a diptych. Once is the left hand panel of the diptych.

Calleja’s endearing figures are led by emotion. The two sketches selected by the artist encompass his distinctive character stylings and use of irreverent slogans. A single phrase spans both works, revealed in full when they are seen together. Together, they nod to the significance of a project that has commanded two years of the artist's attention.

The editions translate original soft ground etchings into intricate hybrid prints. Areas of vibrant colour are enhanced by layers of varnish and red ink applied on a silkscreen. Finally, each print is authenticated with a bespoke artist stamp – unique to the edition.

100 Once in my Life T-shirts will be allocated at random when prints are dispatched. Worldwide shipping is free.

© 2023, Javier Calleja, all rights reserved.

Once
Print

I Know What You Did Last Summer

Absurd yet harmonious, Hyangmok Baik’s figures gather to discover utopian pleasure in I Know What You Did Last Summer.

Baik starts his process by sketching a melting pot of dreams and memories in a picture diary, forming a sense of dépaysement. An otherworldly scene unfolds over a crisp, flattened perspective. The characters represent friends coming together, experiencing a moment of freedom. Amongst a bold unpredictable palette, a unicorn horn glints with variations of hand-applied metal leaf. Just as memories are erased and covered over again, the artist builds upon each print with acrylic paint and oil stick, making each unique.

“I hope people will face the nostalgic moments they have forgotten while watching this work. The world is too fast these days.”

I Know What You Did Last Summer
Print

Immortal II (turquoise)

In Immortal II (turquoise), a totemic figure emerges from an abstract frenzy of line and colour.

Inspired by an original painting, the edition of 35 faithfully translates Crews-Chubb’s distinct impasto marks in an archival pigment print. The artist gravitates towards texture in reaction to the modern-day flatness of digital images. His primitive figures draw on disparate references from Willem de Kooning and Cy Twombly to ancient tapestries and Celtic stonework.

Immortal II (turquoise)
Artist

A-Lei

YehHsin-Hong, known as A-Lei (he/him), was born in 1976 in Taiwan, where he continues to live and work.

A-Lei
Print

Anonyme

Liang Fu shrouds a plaintive portrait in blue-tinged mystery.

Originally part of Fu’s anonymous series, Anonyme shows a figure in flux – “These portraits are not the expression of a captured moment, but rather, surprising images of transition.”

Like a photographic negative, Fu challenges the distinction between absence and presence. Flecks of hand-applied pigment bounce off the surface like water droplets, lighting up the phantom image under darkness.

Anonyme
Artist

Erik Parker

Erik Parker (he/him) was born in 1968 in Stuttgart, Germany. He is now based in New York City.

Erik Parker
Print

Poetic Fragments

Chen Wei Ting creates an ode to childhood and its imaginings in a pair of vibrant prints.

Poetic Fragments brings together two of the artist’s original works – I may be so unreasonable with him and He found a box on my back. Accompanied by two hand-written poems, the prints detail two scenes of imaginary characters at play. Their bubbled forms, complete with surprised facial expressions, are set within a richly-coloured space.

The notion of ‘fragments’ is taken from the artist’s love of literature and the philosophies of Roland Barthes. Viewing his artworks as fragments of his own life, Chen’s subjects convey a personal nostalgia for youth and innocence.

“Instinct drives me to write about these fragments of my childhood, like words and poems in my images, figurative but present.”

Poetic Fragments
Artist

Nikki Maloof

Nikki Maloof (she/her) was born 1985 in Peoria, United States. She now lives and works in the countryside of Massachusetts, United States.

Nikki Maloof
Artist

NessGraphics

American artist Alex Ness, aka NessGraphics, (he/him) was born in 1995. He currently lives and works in New York.

NessGraphics
Artist

Esiri Erheriene-Essi

Esiri Erheriene-Essi was born in London, England, in 1982, and now lives and works in Amsterdam, Netherlands.

Esiri Erheriene-Essi
Print

Picaresque

Delirious and distorted, Picaresque by Baldur Helgason captures a moment of unchecked emotion.

Helgason’s smiling subject joins a cast of darkly-humoured characters found throughout his paintings that parody modern, exaggerated self-presentation. To authentically represent his drawing style, the artist hand-etched a copper plate at his studio in Iceland. Then, in London, the plate was inked and used to print the edition one by one. The wide tonal range afforded by etching captures Helgason's rounded, lively marks with an elevated level of precision.

Picaresque
Print

Sunday Afternoon

Sunday Afternoon translates a classic Bäst portrait into a multi-layered silkscreen print.

Michael “Bäst” Polimeni was a linchpin of Brooklyn’s creative community. Making art for city streets, gallery walls and fashion runways alike, his inimitable mode of amalgamation made wry critique of life under capitalism.

Bäst picked Sunday Afternoon as the reference work for a collaboration before his passing in 2021. In the time since, we have worked closely with the artist’s estate and his longtime collaborator, Paul Insect, to complete the edition. The resulting prints capture the energetic absurdism which underscored Bäst’s label-dodging practice. Individually-cut appliqué layers nod to his literal and conceptual medium of choice – collage.

Sunday Afternoon
Print

Point Reyes

Guimi You draws on her passion for the Northern Californian landscape in Point Reyes, a coastal vista with an otherworldly atmosphere.

You's cool palette sets a dreamlike backdrop to a pensive scene. Subtly layered colourful elements and unique moon formations are added by hand in acrylic paint, so each view is different from the last. The artist defines the central composition by punctuating hazy blues and greens with bold lines, constructing a landscape that embodies the serenity of the Pacific ocean. 

Point Reyes
Print

Lady in Yellow on Spiral Seat #2 Teal Background

With an expansive practice centred on textile paintings and stretching from fashion to theatre, Tschabalala Self asks what it means to have a body.

Lady in Yellow on Spiral Seat #2 Teal Background is based on the original reference work for Self’s first large-scale public sculpture. Centred on a poised and stylish female figure, the original painting has been transformed into a luminous 21-colour silkscreen print.

“The woman is strong, beautiful and self-possessed. She represents all individuals, but women in particular, who understand the power and importance of simple gestures that assert their right to take up space.”

On October 5 Self's monumental sculpture was unveiled at Coal Drops Yard in London, where it will remain on view until early 2023. To discover the collaboration in full, visit the accompanying journal.

Lady in Yellow on Spiral Seat #2 Teal Background
Print

Hot green bath

Innocence and menace meet in a richly coloured scene by Jordi Ribes.

Hot green bath reimagines Ribes' original oil painting through labour intensive photopolymer etching. The unusual medium allows the capture of both meticulous detail and dense pigment, resulting in a sleek but amply textured print. Uncanny and restricted by the coiled bath, the central figure is surrounded by an undulating, vegetal landscape seemingly ready to swallow them whole.

The edition will launch in three distinct colour palettes, conceived by the artist to be displayed together or singularly.

Hot green bath
Print

Hot blue bath

Innocence and menace meet in a richly coloured scene by Jordi Ribes.

Hot blue bath reimagines Ribes' original oil painting through labour intensive photopolymer etching. The unusual medium allows the capture of both meticulous detail and dense pigment, resulting in a sleek but amply textured print. Uncanny and restricted by the coiled bath, the central figure is surrounded by an undulating, vegetal landscape seemingly ready to swallow them whole.

The edition will launch in three distinct colour palettes, conceived by the artist to be displayed together or singularly.

Hot blue bath
Print

Hot orange bath

Innocence and menace meet in a richly coloured scene by Jordi Ribes.

Hot orange bath reimagines Ribes' original oil painting through labour intensive photopolymer etching. The unusual medium allows the capture of both meticulous detail and dense pigment, resulting in a sleek but amply textured print. Uncanny and restricted by the coiled bath, the central figure is surrounded by an undulating, vegetal landscape seemingly ready to swallow them whole.

The edition will launch in three distinct colour palettes, conceived by the artist to be displayed together or singularly.

Hot orange bath

Other words in the glossary

20th century artAbstract ArtAbstract ExpressionismAbstract IllusionismAbstract LandscapeAcrylic PaintAction PaintingAfrican art
AfrofuturismAlgorithmAntiquitiesAquatintArt NouveauArte PoveraArtificial IntelligenceArtist Appropriation
Artist CommissionArtist's Proof (AP)AssemblageAutomatismAutonomous SystemBauhausBen-Day DotsBiomorphism
Black Arts MovementBlockchainBuilt Environment Certificate of Authenticity (COA)CollagraphConceptual ArtConceptualismContemporary Art
Contemporary PerformanceCubismDadaDigital ArtDigital PrintDrypointEditionEdition Number
Edition SizeEngravingERC-1155ERC-721ExpressionismFauvismFeminist ArtFilm Positive
Hand-finishingImmersive ArtImpressionismInstallation ArtIntaglio PrintingInteraction ArtKinetic ArtLand Art
LinocutLithographyMesh CountMezzotintMinimalismModern ArtMonotypeMontage
Neo-ExpressionismNFTOffset LithographyOp ArtOpen EditionOriginal artworkOutsider ArtPerformance Art
Planographic PrintingPop ArtPost-ImpressionismPost-InternetPrinter's Proof (PP)PrintmakingProofReadymade
Reference WorkRegistration MarksRelief printingReproductionScreen FillSelf-PortraitSilkscreenSite-Specific Art
Smart ContractSound-on-DiscStencil PrintingStreet ArtSurrealismThe SublimeTime-limited EditionUnderground Art
VR ArtworkWeb 3.0Wood EngravingWoodcut

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Parra's studio, with Parra at the centre, his back to the camera as he works on the large painting takes centre stage, showing a faceless blue woman in a striped dress, painted in red, purple, blue and teal. The studio is full of brightly coloured paints, with a large window on the right and a patterned rug across the floor under the painting.
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