Glossary
Monotype

Monotype

A monotype is a unique image produced by printing from a smooth plate, like glass or metal, that has been inked with a design.

The image is moved from the plate onto a sheet of paper by pressing them together, typically employing a printing press.

Monotypes can alternatively be crafted by applying ink across the entire surface and then, with brushes or cloths, selectively removing ink to generate areas of light within a solid, opaque colour region. Generally, a monotype impression is one-of-a-kind, although occasionally a second, fainter impression can be obtained from the inked plate, but it will be significantly lighter and generally of lower quality.

38 results found for "Monotype"

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
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
Artist

Tunji Adeniyi-Jones

Tunji Adeniyi-Jones was born in 1992 in London, UK, and is currently based in New York, USA.

Tunji Adeniyi-Jones
Print

Rare Hero

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. Rare Hero belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

Rare Hero
Print

GN Bearish

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. GN Bearish belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

GN Bearish
Print

Deep Web Golden Bunny

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. Deep Web Golden Bunny belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

Deep Web Golden Bunny
Print

A Sweet Tiger Man

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. A Sweet Tiger Man belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

A Sweet Tiger Man
Print

Very Thick Avatar

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. Very Thick Avatar belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

Very Thick Avatar
Print

Very Thin Avatar

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. Very Thin Avatar belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

Very Thin Avatar
Print

The Expert

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. The Expert belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

The Expert
Print

Hello Fren

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. Hello Fren belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

Hello Fren
Print

GM Bullish

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. GM Bullish belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

GM Bullish
Print

Angry Feels

New and old collide in Christian Rex van Minnen’s absurdist, emotionally-charged portraits. Angry Feels belongs to Avatars, a series of 10 original monotypes created specially for our debut collaboration.

Realised through a bespoke process dubbed ‘indirect painting in monotype’ by the artist, each work comprises a series of unique impressions from hand-painted plexiglass plates – evoking the layered technique of historic Venetian painting with an irreverent contemporary vocabulary.

“Monotype as a process occupies a strange territory – they are ultimately one of one. Only one can be made.”

Angry Feels

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-721EtchingExpressionismFauvismFeminist Art
Film PositiveHand-finishingImmersive ArtImpressionismInstallation ArtIntaglio PrintingInteraction ArtKinetic Art
Land ArtLinocutLithographyMesh CountMezzotintMinimalismModern ArtMontage
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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