Signed and dated, in graphite, lower right margin: D [illegible script] '02; titled, in graphite, lower center margin: Tatto Series VII; numbered, in graphite, lower left margin: 3/3
Embossed, lower right margin: CRE [vertical portion of R and E are omitted] [semicircles above and below letters] [publisher's chop]
Watermark, lower right margin: somerset / ENGLAND; watermark, upper left margin: somerset / ENGLAND [upside down]
In the Tattoo Series, Heyman uses a printmaking process called chine collé, which involves layering tissue-thin paper atop a support paper and running them together through a press.
In Untitled [Vincent], the artist’s husband sprawls out in the sand. A marbleized sheet of paper becomes a secondary "skin" atop the figure, transforming him into part of the natural environment. This skin—slipped between the support paper and the imprinted ink—literally and figuratively creates a separate layer. He lies exposed yet hidden by both the sandy dunes and the chine collé mask.
From the 2023 exhibition A Space for Dialogue 111, Taking Up Space: Forming Body and Identity, curated by Milanne Berg '24, Homma Family Intern
SART 27, SART 28, SART 74, Printmaking I, II, III, Louise Hamlin, Spring 2013
SART 27, SART 28, Printmaking I-Intaglio, Printmaking II, Louise Hamlin, Winter 2014
SART 27, SART 28, SART 74, Printmaking I, Printmaking II, Printmaking III, Louise Hamlin, Spring 2014
A Space for Dialogue 111, Taking Up Space: Forming Body and Identity, Milanne Berg, Class of 2024, Homma Family Intern, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 4 - 22 April 22, 2023.
Vincent Renou, Philadelphia, Pennsylvania; given to present collection, 2005.
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