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One of the greatest joys of graphic art is illusion. It is of particular importance, as—unlike painting, it works primarily with line. This is particularly true for intaglio techniques before the invention of aquatint: in order to depict spatiality, every indentation and elevation, every fold and reflection, every nuance of tone and color, every contrast and highlight, every shadow and shimmer must be conveyed through lines. Since such phenomena do not appear as lines in reality, translating them into a linear matrix represents a highly abstract feat of transformation. Even the rendering of surfaces—whether smooth, reflective, curved, or grained—already poses a dimensional challenge (from line to surface). More demanding still is the shift from surface to space. Most virtuosic, however, is the illusory skill of simulating textures through a web of lines in the depiction of fleeting volumes like clouds, fire, foliage, fabric, hair, smoke, water—or more broadly: movement. For such…
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Press Release
One of the greatest joys of graphic art is illusion. It is of particular importance, as—unlike painting, it works primarily with line. This is particularly true for intaglio techniques before the invention of aquatint: in order to depict spatiality, every indentation and elevation, every fold and reflection, every nuance of tone and color, every contrast and highlight, every shadow and shimmer must be conveyed through lines. Since such phenomena do not appear as lines in reality, translating them into a linear matrix represents a highly abstract feat of transformation. Even the rendering of surfaces—whether smooth, reflective, curved, or grained—already poses a dimensional challenge (from line to surface). More demanding still is the shift from surface to space. Most virtuosic, however, is the illusory skill of simulating textures through a web of lines in the depiction of fleeting volumes like clouds, fire, foliage, fabric, hair, smoke, water—or more broadly: movement. For such…
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