Richard Serra, ‘Vesturey I’, 1991, Phillips


From the Catalogue:
Intaglio Construction is a process employed by Richard Serra in his Hreppholar series of 1991 (47.60 - 47.67). The process required that the intaglio plate be deeply etched in order to create texture and therefore retain a large quantity of ink. Next, in order to fulfill the artist's desire to give the prints more mass, paper heavier than the support sheet was cut to the shape of the image area. Edges of this sheet were shaved for a smooth transition. The entire assembly was finally run through the press while printing and lamination were simultaneously taking place.
Courtesy of Phillips

Signature: Signed, dated and numbered 14/35 in pencil (there were also 10 artist's proofs)

Publisher: Gemini G.E.L., Los Angeles (with their blindstamps)

Gemini G.E.L. 1546

About Richard Serra

The monumental sculptures of Richard Serra, one of the preeminent sculptors of the 20th century, emphasize or alter viewers' perceptions of space and proportion. “It's all about centralizing the space in different ways. How people move in relation to space, that's essentially what I'm up to,” he has said. Inspired early in his career by modern dance—notably through his relationship with members of New York City’s influential Judson Church dancers—and Japanese Zen gardens, the artist sought to create works that engage viewers in movement, taking in his large-scale sheet-metal pieces by navigating the space around them. Serra, who was schooled at Yale with classmates Frank Stella, Chuck Close, and Nancy Graves, has been called “cerebral, single-minded, austere, as steely and uncompromising as his work.” “I have a certain obstinacy, a certain willfulness that has got me in trouble but it has also got me through,” he has quipped.

American, b. 1938, San Francisco, CA, United States, based in New York, NY, United States and Nova Scotia, Canada