In December, Delphine Gigoux-Martin



French artist Delphine Gigoux-Martin examines the first proof of her new print, based on an X-ray of a horse's legs. A second image will incorporate her taxidermied mice pelts, which await on the table. For the past year, the artist has been working on a series of limited-edition prints commissioned by the Metropolis gallery (based in Paris and Lyon).




The mice pelts, lined up on the table, will be combined with her drawn image of an airplane, previously drawn on stone and printed in black ink. 

The artist prepares each pelt with a toothbrush to ready it for gluing. The glue is then gently brushed onto the back.


The artist positions the pelt. and printer Marine Penhouet passes it through. Marine and Delphine remove a special wax paper that protected the pelt during printing, to avoid the glue from sticking  or tearing the paper.



Each print is unique: the artist varied the position of the pelt each time. 


The final version revealed (edition of 17). 




Jim Dine in November





In recent trial sessions with Jim Dine in November, we worked on a 
diptych and an individual piece destined for his February exhibition at Pace Gallery, New York.


Jim Dine works on a new woodcut.








Stéphane Pencréac'h in November






Julia Spiers, Julien Torhy and Michael Woolworth wear masks while making pages of Stéphane Pencréac'h's book L'Enfer, all by trichlorothylene transfer. Photos: Nikolas Wise.


Stéphane Pencréac'h adds some color touches to the monumental woodcut Narcissus 2.






Marc Desgrandchamps in July





Left: Marc Desgrandchamps drafts new compositions in 3 colors for an exhibition in Berlin in September at Eigen + Art gallery.   Center: The first trial proof of his new image. All the drawing was accomplished with pen and ink on stone.   Right: Mylar drawn by the artist indicates the position of a third color. The half tones in the drawing are made according to an old French tradition known as "point coquille" often used in embroidery, by placing a dot structure in pen and ink.





Blaise Drummond in May



Irish artist Blaise Drummond hard at work on some new print projects.

Drummond uses a dropper for one of his interventions on To the Rocket Station.






Ofer Lellouche in February and March



Photos : Marc-Antoine Mouterde



Sculptor Ofer Lellouche looking on as his large woodcuts are about to printed. (Photo : Marc-Antoine Mouterde)



Torhy & Woolworth pull one of Lellouche's huge woodcuts. (Photo Marc-Antoine Mouterde)



The woodcut is printed on German Hahnemühle paper. Printer Julein Torhy is on right, with Woolworth, hidden, at center. (Photo Marc-Antoine Mouterde)





The new woodcut series includes 4 large diptychs 2M40 x 2M40 and will be shown in an important exhibition in October at the CAFA Art Museum in Beijing, China. 







Sarah Graham in February






British artist Sarah Graham, known for her magnificent botanicals, completes a large drawing of a moth on a transfer sheet for the first lithographic pass of this new project.



Recent trials in March of Graham's gigantic lithographic moth. The edition, format 2M20 x 1M22, was produced for and by Sims Reed Gallery in London for an exhibition in June. Alongside the moth, early stages of a new woodcut by French painter Stéphane Pencréac'h.







Stéphane Pencréac'h starts Narcissus in March




Stéphane Pencréac'h carving his new composition on Narcissus for an exhibition at the Woolworth atelier in November.




Narcissus, the artist's first attempts at woodcut, evolves during March and April.