Pace Prints: Innovation
Innovation, a group exhibition highlighting extraordinary works created in the Pace Editions studios over the past decade. The monotypes, unique works and editions in this exhibition demonstrate the unlimited possibilities of printmaking.
Adam Pendleton’s Untitled, a unique set of fourteen relief prints with stenciled paper pulp, comprises the main wall of the gallery. Made using the wet papermaking process, Pendleton used stenciled paper pulp to create impossible to mimic marks. Widely recognized for his multi-disciplinary practice which seamlessly moves between mediums and genres, Pendleton deploys language and appropriated imagery in what he calls “Black Dada.” In his words, “Black Dada is a way to talk about the future while talking about the past.”
Tara Donovan’s Untitled (Pin Prints) are editions, though non-traditional in their execution. Donovan utilizes everyday objects to explore transformative effects of accumulation and aggregation, which she brings to her printmaking. While seemingly random, the patterns in these prints are formed through the calculated act of arranging one sewing pin after another as they are hammered into a matrix. The heads of the pins are inked and transferred to create the image on the paper.
Daniel Heidkamp’s Le Golfe is an accumulated scene, taking the viewer to the French Riviera. Included in the artist’s most recent exhibition, Amphora, with Pace Prints in 2020, Le Golfe is a tour de force in collage. Building the surfaces of rugged French cliffs and Mediterranean seascapes, Heidkamp layers richly pigmented Canson papers in every possible tone and tint.
Taking cues from conceptual and minimal art, Dan Walsh constructs his work from self-imposed rules and procedures. For Profiles VI, Walsh created a jigsaw puzzle style matrix, where each part was moveable and could be inked separately. Using this matrix, Walsh was able to create a series of six progressive relief monoprints whose colors moved from light to dark. In subject matter, each composition is compiled of fifteen images, three rows of five, diverted vertically in two halves. Each row is categorized by his source imagery: the top is architectural, the middle is busts and vessels, and the bottom is vegetable and organic.