With her lenticular print duration I (jada), 2024, and pigment print tangents (jada-marjani-marcella), 2024, Davis extends time through her compulsion to gather at the seams of movement locating a nearly intangible, unbound subject. Akin to jazz’s spontaneity and place on the edge, Davis’s photographs find focus in the instability and chatter that improvisation—be it light, aperture, or matter—offers in each moment. A single subject echos into infinite portals with duration I (jada) while in tangents (jada-marjani-marcella), the three womens bodies and physical space extend into diverging rays of light. Here, intent and chance play within the frame while also, highlighting the precipice of something just beyond the boundaries.

With her lenticular print duration I (jada), 2024, and pigment print tangents (jada-marjani-marcella), 2024, Davis extends time through her compulsion to gather at the seams of movement locating a nearly intangible, unbound subject. Akin to jazz’s spontaneity and place on the edge, Davis’s photographs find focus in the instability and chatter that improvisation—be it light, aperture, or matter—offers in each moment. A single subject echos into infinite portals with duration I (jada) while in tangents (jada-marjani-marcella), the three womens bodies and physical space extend into diverging rays of light. Here, intent and chance play within the frame while also, highlighting the precipice of something just beyond the boundaries.

The Lapis Press is pleased to present a new edition by Helen Pashgian, Untitled (the Green Lens), 2024. This edition of 7 pigment prints on paper is a continuation of her lifelong examination of the transitory perception of light. In Untitled (the Green Lens), pink flashes appear around the green edges and into the borders of the print. This print captures on paper the ephemeral quality of Pashgian's complex installations.

In 1974, Shore purchased a Stereo Realist - a camera that created stereographic color transparencies - resulting in images that could be viewed in 3D. In the winter of 1975, Shore exhibited about 15 of these pictures at Light Gallery in New York City using a loaned Stereo Realist camera store display viewer. While the resulting images were mesmerizing, the method of viewing them proved complicated. Now, almost 50 years later, The Lapis Press developed a digital technology that uses layers to accentuate spatial depth within the image. When coupled with a lenticular lens, the print produces a three-dimensional composition. This new lenticular edition aims to show the images the way they were meant to be seen, without the use of a stereoscope.

In 1974, Shore purchased a Stereo Realist - a camera that created stereographic color transparencies - resulting in images that could be viewed in 3D. In the winter of 1975, Shore exhibited about 15 of these pictures at Light Gallery in New York City using a loaned Stereo Realist camera store display viewer. While the resulting images were mesmerizing, the method of viewing them proved complicated. Now, almost 50 years later, The Lapis Press developed a digital technology that uses layers to accentuate spatial depth within the image. When coupled with a lenticular lens, the print produces a three-dimensional composition. This new lenticular edition aims to show the images the way they were meant to be seen, without the use of a stereoscope.

In 1974, Shore purchased a Stereo Realist - a camera that created stereographic color transparencies - resulting in images that could be viewed in 3D. In the winter of 1975, Shore exhibited about 15 of these pictures at Light Gallery in New York City using a loaned Stereo Realist camera store display viewer. While the resulting images were mesmerizing, the method of viewing them proved complicated. Now, almost 50 years later, The Lapis Press developed a digital technology that uses layers to accentuate spatial depth within the image. When coupled with a lenticular lens, the print produces a three-dimensional composition. This new lenticular edition aims to show the images the way they were meant to be seen, without the use of a stereoscope.