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.
50 results found for "Etching"
Framing Inspiration
So you found the perfect artwork. Now what? From classic to creative framing, with room for magic comes room for mistakes. We took five prints to a framing studio in East London to explore the possibilities on offer for the contemporary collector. Here's what we found out.
Yayoi Kusama Louis Vuitton: When Will The Dots Stop?
Bags, billboards and Bella Hadid. The commodification of Yayoi Kusama.
Seated
With her first ever public sculpture, Tschabalala Self brings ongoing explorations of body politics and domestic performance to London.
Studio Works
Studio Works offers the chance to collect original artworks by emerging global artists. The first instalment features Alfie Caine, b.wing, Bell Nakai, Lin Yen-Liang and Sun-Kyo Park - five artists we were excited to meet earlier this year.
Peter Halley: Galaxia II
New York Neo-Geo icon Peter Halley has been making prints alongside his fluorescent, rectilinear paintings for more than 3 decades. Galaxia II – “a technical tour de force” – is his most ambitious yet.
Miwa Komatsu
Miwa Komatsu was born in Nagano, Japan in 1984. She lives and works between Nagano and Tokyo.
Nicasio Fernandez
Nicasio Fernandez was born in 1993 in Yonkers, New York. He now lives and works in Mahopac, New York.
SETH
SETH (he/him) was born in 1972 in Paris, where he lives and works.
A-Lei
YehHsin-Hong, known as A-Lei (he/him), was born in 1976 in Taiwan, where he continues to live and work.
Erik Parker
Erik Parker (he/him) was born in 1968 in Stuttgart, Germany. He is now based in New York City.
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.
NessGraphics
American artist Alex Ness, aka NessGraphics, (he/him) was born in 1995. He currently lives and works in New York.
Esiri Erheriene-Essi
Esiri Erheriene-Essi was born in London, England, in 1982, and now lives and works in Amsterdam, Netherlands.
Diptych
Javier Calleja composes a diptych from life’s possibilities and complexities.On the left, It wasn’t me is grounded in mischief that exists somewhere between innocence and malevolence. On the right, Floating conveys the carefree nature of daydreams and a sense of limitless potential. Together, Calleja builds a “simple but not easy” narrative that suspends each figure in a single moment from a story.
Each print is a 15 colour engrave, using 4 photopolymer etching plates with a final colour applied by hand by the printmaker. The artisanal production process will begin as soon the draw for the edition is held, and will take 16-20 weeks.The diptych is made up of two prints, each an edition of 250.
© 2024, Javier Calleja, all rights reserved – text and data mining not allowed.
Mark Whalen
Mark Whalen (he/him) was born in Sydney in 1982, and now lives and works in Los Angeles.
Floating
In Javier Calleja’s daydream a whimsical character floats, detached from reality.Floating sees a carefree figure suspended in the air. Blushing, with hands shyly in their pockets, they innocently yet mischievously look towards a single daisy perched on their head. Pink bubble letters add to the lightness of the scene, completing the composition. Originally drawn in pencil, Calleja’s soft use of colour lends a dream-like quality to his snapshot of the limitless possibilities of youth.
The print is a 15 colour engrave, using 4 photopolymer etching plates with a final colour applied by hand by the printmaker. The artisanal production process will begin as soon the draw for the edition is held, and will take 16-20 weeks.
© 2024, Javier Calleja, all rights reserved – text and data mining not allowed.
It wasn't me
Javier Calleja simplifies life’s complex threads with a single, mischievous character.The wide-eyed figure, adorned with impish horns and a wicked smirk, starkly contradicts the text floating above them. ‘It wasn’t me’ hints at a grander tale, waiting to be told. Full of suggestive contrasts and rendered with bold use of fiery hues in soft pencil, Calleja’s artwork captures the interplay between innocence and mischief.The print is a 15 colour engrave, using 4 photopolymer etching plates with a final colour applied by hand by the printmaker. The artisanal production process will begin as soon the draw for the edition is held, and will take 16-20 weeks."My intention is that the spectator creates their own story when they are looking at my work."© 2024, Javier Calleja, all rights reserved – text and data mining not allowed.
Minority Rules
A rabbit serves as a mirror for complex human emotions in a print by Benrei Huang.First seen in 2008, Nini is a recurring character in Huang’s work. The white rabbit has taken on a life of his own in surreal, pastel-hued vistas. In Minority Rules, Nini stands apart from a crowd of green bunnies. Whether Nini is comfortable in his solitude or has been ostracised by the warren is left open to interpretation. As her practice has evolved, Huang has stopped explaining her paintings – “a lot of my viewers have projected their own life experiences into my works, a vivid reflection of their life and on-the-spot emotions.” An edition of archival pigment prints on etching paper maintain the soft storybook feel of the reference artwork. The delicate rendering is at once universally accessible and deeply personal to Huang’s life and practice.
Jules de Balincourt
Jules de Balincourt was born in 1972 in Paris, France, and now lives and works in New York, USA.
Menippean Satire
A humorous reflection of the ambient anxiety of modern life by Baldur Helgason.Highlighting the unfulfilled need for connection in society, Helgason is known for caricatures which seem playful at first, yet are subversive, emotive and discomforting.Menippean Satire, as its title suggests, considers pervasive attitudes rather than a specific individual or group. The work's crazed but smiling subject fits right in amongst Helgason's oeuvre of delirious cartoons. To create the edition, the artist drew by hand onto a soft ground copper etching plate. Once complete, the plate was inked and used to print the edition one by one.
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.
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.
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.
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.
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.
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.
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 #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
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
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
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
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
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
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
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.
Michael Kagan
Michael Kagan was born in 1980 in Virginia, USA, and now lives and works in Brooklyn. He received his MFA from the New York Academy of Art in 2005.
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
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
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
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
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
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
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
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
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
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
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
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.
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.
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.
Other words in the glossary
Building your collection? We can help.
Your questions, answered
We collaborate with artists to create both limited editions and works on paper.
A limited edition is a set number of similar or identical artworks. The size of the edition denotes the total number of artworks that will ever be made, underscoring their value.
Framing options vary for each piece and are listed on the individual artwork pages. Our standard glazing offer is a minimum 90% UV acrylic plexiglass, or you can upgrade to an anti reflective Optium museum plexiglass.
Yes, 100%. We work directly with our artists to create editions that accurately represent their body of work. Additionally, every artist personally reviews and approves their final editions.
Every artwork is signed or stamped, and individually numbered. You will also receive a stamped and numbered certificate of authenticity.
No—the copyright is not transferred to the purchaser of the edition.
All the ins and outs can be found on our orders and shipping page.
