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About Jasia Szerszynska

About the artwork

Aspect IV, 80 x 80cm (framed size), is the fourth of four monotypes from Jasia Szerszynska’s Aspects series. There are 35 prints in the edition, though each of them is unique. The prints are framed in beautiful white oak frames. Szerszynska began the printmaking process of her Aspect series by making drawings of the natural world. She abstracts these shapes, reducing them down into the simplest of forms. Each print is composed of large, strong marks.

The prints can either work as singles, a small series or as a full set. Due to their square format, the set works together beautifully, whether in a grid format or side by side in a single row.

Szerszynska on her technique: “Originally my mark making on paper was by using graphite and charcoal because of my love of the line quality that it gives. I then began experimenting with brush and ink which enabled a new boldness and simplicity. I then began to go out into the landscape with just Chinese ink and a paintbrush to create drawings. My aim was not to draw literally what I saw before me but to capture some essence of the patterns of man’s mark on the land.'

Jasia Szerszynska Aspect IV, 2019

£1,650.00
H 80 cm x W 80 cm x D 2 cm
More details
Monoprints
Original, Framed
Signed
Ships from: United Kingdom

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About Jasia Szerszynska

About the artwork

Aspect IV, 80 x 80cm (framed size), is the fourth of four monotypes from Jasia Szerszynska’s Aspects series. There are 35 prints in the edition, though each of them is unique. The prints are framed in beautiful white oak frames. Szerszynska began the printmaking process of her Aspect series by making drawings of the natural world. She abstracts these shapes, reducing them down into the simplest of forms. Each print is composed of large, strong marks.

The prints can either work as singles, a small series or as a full set. Due to their square format, the set works together beautifully, whether in a grid format or side by side in a single row.

Szerszynska on her technique: “Originally my mark making on paper was by using graphite and charcoal because of my love of the line quality that it gives. I then began experimenting with brush and ink which enabled a new boldness and simplicity. I then began to go out into the landscape with just Chinese ink and a paintbrush to create drawings. My aim was not to draw literally what I saw before me but to capture some essence of the patterns of man’s mark on the land.'

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