#interview with the vampire#iwtv#the vampire armand#assad zaman
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The world of toilet paper #02 - Soft-ground etching Copper Print
2019
I made a work focusing on toilet paper.
Copper Print
Ink : Charbonnel Etching Ink Paper : Hahnemuhle#5735
Image size: 11.5 x 11.5 cm (approx) Paper size: 16.5 x 16.5 cm (approx)
Want this sweet chimera monster or this etching? Join my Patreon before the end of the month! https://www.patreon.com/brettgrunig Patrons also gain access to posts describing my process.
my lil birb, my lil ferocious birb
The world of toilet paper #01 - Soft-ground etching Copper Print
I love the toilet space. I put my daily appreciation for the toilet in the work. This time, I made a work focusing on toilet paper.
2019 Copper Print
Ink : Charbonnel Etching Ink Paper : Hahnemuhle#5735 Image size: 11.5 x 11.5 cm (approx) Paper size: 16.5 x 16.5 cm (approx)
The world of toilet paper #04 - Soft-ground etching Copper Print
2019
Ink : Charbonnel Etching Ink Paper : Hahnemuhle#5735
Image size: 11.5 x 11.5 cm (approx) Paper size: 16.5 x 16.5 cm (approx)
I made a work focusing on toilet paper.
The NY Satellite Print Fair at the Bohemian Hall: Part II, Stanley William Hayter
As you all know, the Annex Galleries will be in New York on the weekend of November 8th-10th, 2013 for The NY Satellite Print Fair at the Bohemian Hall. We will be showing plenty of artists across the spectrum of style, subject and region.
Today, I want to share the work of Stanley William Hayter. Stanley William Hayter was born in Hackney, England on December 27, 1901, to a family of artists. Though always interested in art, he began his adult life as a chemist and scientist. After working in the oil fields of Iran for three years, he went to Paris in 1926 to study at the Académie Julian. There he met the engraver Joseph Hecht and began to merge his early training in chemistry with a new found interest in printmaking.
Hayter spent most of his life in Paris where, in 1927, he founded an experimental workshop for the graphic arts, Atelier 17, that played a central role in the twentieth century revival of the print as an independent art form. The name Atelier 17 was adopted in 1933 when Hayter moved his establishment from its original home to 17 Rue Campagne Premiére. Through the late 1920s and into the 1930s he began a series of experiments using engraving, soft-ground etching, gaffrauge, open-bite, scorper and other innovative, textural techniques, all loosely based on the Surrealist/Jungian concepts of subconscious image and automatic line. Artists from around the world gathered to work with him and ideas flowed freely. Hayter and most of the artists left Paris in late 1939 as war closed in on the city.
In 1940 Hayter moved to New York and re-founded Atelier 17 at the New School, moving to a studio on East 8 Street in 1945. The studio again became a melting pot for the artist who had arrived from Europe, American artists, and some young rebels. The emphasis in New York focused more on experimental color printing, including the use of viscosity printing and offset color using screenprint, stencil and woodcut.
Hayter returned to Paris in 1950 and re-established Atelier 17, attracting more international artists, many now coming from Asia. He continued to experiment with color printing, including the use of Flowmaster pens, incongruous and fluorescent colors and flowing, interwoven patterns.
Hayter died in Paris on May 4, 1988.
Untitled 6 (L'apocalypse) plate 6; engraving and drypoint; 1931.
Boulevard Pasteur (aka Coin de Boulevard Pasteur); drypoint; 1927.
Sousmarine (undersea); engraving and soft-ground etching with embossing; 1937.
Rue Dareau; drypoint; 1927.
Untitled 3 (L'apocalypse) plate 3; engraving; 1931.
Metamorphosis of Love (Faust's Metamorphosis); engraving and mezzotint; 1931-2.
Figure; engraving & softground etching; 1981.
L'Escoutay; engraving, soft-ground etching and scorper, copper plate, one wood block; 1951.
Clairevoie; color soft-ground etching, zinc plate; 1976.
Perseides; color etching; 1958.
People; engraving, etching, soft-ground etching and scraper; 1974.
