‘In some part, these “windows” or apertures serve to interrogate the condition of illusion – to foreground the materiality of the image. To ventilate the picture plane, leading to a view onto, say, the wall. To engage an oscillation between “figure” and “ground”, and somehow reveal a “beyond”.’ — Cerith Wyn Evans

Released to coincide with Cerith Wyn Evans’ exhibition ‘No realm of thought… No field of vision’ at White Cube Bermondsey, London in 2020, these two black and white prints feature a circular void cut into a photograph taken by Evans. Circles, and specifically holes, feature throughout Evans’ work, inspired by Francis Picabia’s ‘Jeune Fille’, Yoko Ono’s ‘A Hole to See The Sky Through’, and Lucio Fontana's Concetto Spaziale works. ‘... peal (I)’ and ‘...peal (II)’ are available individually or as a diptych at a special price. Please contact us via artwork enquiry if you are interested in purchasing the set.

Made in an edition of only 40, this work marks Ellen Altfest’s first exploration into the medium of printmaking. Based on the painting of the same title, 'Green Gourd' (2007) recreates the highly detailed painted image in an equally detailed and masterful technique – that of the Japanese style woodblock print. Altfest’s subjects are observed from life rather than photographic images. The prolonged study and intense looking involved in their making gives the subject an otherworldly presence, raising the humble, organic form of the gourd into a palpable icon. Printed by hand using the Japanese Ukiyo-e style, from nine blocks, using 18 colours, in 17 printing steps, the print mimics the precision of the original painting at 1:1 scale in a mesmerising and delicate manner.

Darren Almond’s 'Principle of Moments' (2010) is a series of time-lapse photographs depicting the jagged landscape of the Faroe Islands, close to the Arctic Circle. For this work, Almond photographed the site every minute of every hour, throughout the longest day of the year. This coastline’s extreme geographical location means it is exposed to diverse weather conditions. These photographs collectively document the landscape’s shifting climate and the passage of light, creating an elaborate sequence of imagery that becomes a measure of time. Using the same frame for each photograph, a multiplicity of differences arises from image to image: passing mist obscures the mountain’s peak; rainclouds shower the plunging waterfall; the sun sinks behind the mountain, shadowing the sea.

‘It was all About Loving you’ (2022) is an edition by Tracey Emin, produced in response to the escalation of conflict in Ukraine. All proceeds are going to charities supporting Ukraine, Hope and Homes for Children and Care International.  Depicted through a series of swift lines, a figure reclines alone in a state of longing and desire, apparently caught between despair and ecstasy. As with many of Emin’s other works, her prints have a diaristic aspect, and often reference events from the past. This screenprint, printed by Counter Editions, is typical of the artist’s candid practice, which is both intensely personal and resonantly universal.  As fellow artist Julian Schnabel has said: ‘[Emin’s] need to be honest supersedes all decisions in her life and art. The crystalline presentation of the most intimate and private emotions are what she wants to share with us.’

’Nov.11 2010’ is a limited-edition print by Fred Tomaselli from an ongoing series in which he reworks lead photographs on the front page of The New York Times. A self-described ‘news junkie’, Tomaselli sees parallels between his own work as a collage artist and that of a newsroom: ‘I tend to see myself as a kind of conductor overseeing a choir of nameless voices singing through artifacts. Newspapers, with their army of editors, writers, fact-checkers and photographers, seem to embody a similar kind of cultural collectivity.’

‘Untitled’ (1969) is the first print edition from Al Held’s ‘Black and White’ period. The interpenetrating cubic volumes constructed paradoxical perspectives, and correlate to the imagery of Held’s concurrent ‘Phoenicia’ series of paintings, especially Phoenicia IX in the collection of the Israel Museum. The edition was published to benefit the Skowhegan School of Painting and Sculpture in Maine, USA, where Held was a visiting artist in the summer of 1968. In a lecture there, he likened his new black and white geometric imagery to that of a bookstore window, a singular image-field of varying depths replete with conflicting ideas and narratives.

Since 2012 Raqib Shaw has been passionately collecting and maintaining Bonsai trees. This particular specimen, the Black Pine Bonsai, was grown from a small plant at Kinkaku-ji, Temple of the Golden Pavilion, a Zen Buddhist temple in Kyoto, Japan. Shaw’s inspiration for this etching comes from Yukio Mishima’s novel ‘The Temple of the Golden Pavilion’. Based on real-life events, it is the story of a young acolyte who develops an obsession with the perfection of the architecture of the temple. The novel deals with themes of beauty and aesthetics and how these enable the transcendence to true enlightenment. Plate size: 30 x 25 cm | 11 13/16 x 9 13/16 in. Paper size: 54.8 x 47.8 cm | 21 9/16 x 18 13/16 in. Signed and numbered, published by White Cube, 2016.

Virginia Overton’s work often focuses on the physiological properties of sculpture; the effects of matter, weight, density and luminosity. Interested in repurposing and reusing existing materials, in this edition, each of which is unique, Overton marries two distinct materials: pipe off-cuts and salvaged concrete bricks. The sculpture uses the materials’ own form, surface quality and weight to resolve into a composition which relies on balance and tension. As with many of Overton’s sculptures, this work can be seen as performative in that it harnesses what Overton has described as ‘the natural push and pull’ in the materials. Composed of four separate elements, the work must be assembled by its new owner. Each edition is accompanied by installation instructions and a unique case made using recycled wood. Unique edition, packaged in a wooden crate. Packaging dimensions 47 x 36 x 14 cm. Weight 12kg. Issued with a certificate of authenticity, released by White Cube, 2016.

Michael Armitage draws his work from life, his memory and other sources. Exploring a rich source of cultural influences, he weaves narrative and visual labyrinths through formal alternations between positive and negative space, earthen and acid tones. Much of Armitage's work explores subject matter that ranges from the historical to the mythological while contributing to a lineage of storytelling that can be both surreal and profoundly human. The Ol Ngoroi Rock Shelter in Kenya’s Lolldaiga Hills harbours cave paintings dating back as far as 2700 BC and as recently as the early 19th century. This print pictures an imagined ritual that might have taken place in the presence of these mysterious images, whose meanings are unknown, even by their most recent authors, the Samburu people.

‘Demons Are Forever’ featured prominently in Harland Miller’s 2022 exhibition ‘Imminent End, Rescheduled Eternally’ at White Cube Bermondsey, London. The edition has been painstakingly handmade through multiple layers of etching and relief printing, with extensive hand-finishing by the print studio. “The starting point for the painting was a detail taken from a painting by one of my favourite artists – Danish Situationist Asger Jorn. I think instead of worrying about his ongoing influence on my work, I decided to bring it forward in the form of this very small detail that I’ve blown up and reworked on a large scale – repeating back to front and then upside down – reducing in size each time to create or suggest a kind of eternal spiral. Combined with this colour palette – so associated with depictions of demons over time, it echoes the idea of forever in the title and also combines this idea of high and low culture, which is also a forever kind of theme in my work”. – Harland Miller