Elizabeth Iadicicco

"Eucalyptus, " Framed Limited Edition Print, 8" x 6"

2022

This limited edition botanical print by Elizabeth Iadicicco captures wild eucalyptus leaves on a minimalist white background. This print is an edition size of 25. Printed on premium fine art paper, this print ships matted and framed in a contemporary silver frame which is wired and ready to hang. Other frame options are available in white, black, gold, natural wood, antiqued silver, antiqued gold, distressed white, or whitewashed wood. For additional sizes and frame options, please contact us. Limited Edition prints are printed with pigment ink on a Premium Fine Art paper and designed to meet museum longevity requirements and ensure consistency. The artist has granted permission to Sorelle Gallery to produce limited edition prints of their work. Each print comes with a Certificate of Authenticity, and ships for free. Please note that all prints are made-to-order based on desired preferences, allowing for personal customization and less waste. Please also allow additional time for printing prior to shipping. Elizabeth Iadicicco was born in Washington D.C. and lived in several different cities throughout her childhood including Helsinki, Warsaw, and London. She studied Fine Art at Syracuse University and later attained her Masters Degree in Arts Management from HEC Montreal. She now lives and works in the Hudson Valley. Elizabeth's illustrations aim to reconnect the viewer with the simplicity and freedom of childhood and the natural world. She is inspired by cartoon artists like Bill Waterson, Jason Chatfield, and Tove Jansson...

This limited edition botanical print by Elizabeth Iadicicco captures wild eucalyptus leaves on a minimalist white background. This print is an edition size of 25. Printed on premium fine art paper, this print ships matted and framed in a contemporary silver frame which is wired and ready to hang. Other frame options are available in white, black, gold, natural wood, antiqued silver, antiqued gold, distressed white, or whitewashed wood. For additional sizes and frame options, please contact us. Limited Edition prints are printed with pigment ink on a Premium Fine Art paper and designed to meet museum longevity requirements and ensure consistency. The artist has granted permission to Sorelle Gallery to produce limited edition prints of their work. Each print comes with a Certificate of Authenticity, and ships for free. Please note that all prints are made-to-order based on desired preferences, allowing for personal customization and less waste. Please also allow additional time for printing prior to shipping. Elizabeth Iadicicco was born in Washington D.C. and lived in several different cities throughout her childhood including Helsinki, Warsaw, and London. She studied Fine Art at Syracuse University and later attained her Masters Degree in Arts Management from HEC Montreal. She now lives and works in the Hudson Valley. Elizabeth's illustrations aim to reconnect the viewer with the simplicity and freedom of childhood and the natural world. She is inspired by cartoon artists like Bill Waterson, Jason Chatfield, and Tove Jansson...

This abstract limited edition print by Roger Mudre features light, translucent circles layered over one another throughout the composition. The under layers are a deep green and yell...

This limited edition print by Daniel Pollera depicts a figure wearing a hat, sitting in a sailboat, sailing out into the open bay. The sailboat creates misty ripples in the water as ...

This coastal seascape Limited Edition giclee print by Daniel Pollera captures a sailboat at sunset. A single figure can be seen in the boat itself, navigating past a shadowed coastli...

This Limited-Edition abstract print, "A Summer Day in Nantucket," by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and r...

At the Edge by Shirley Kirkcaldy [2018] limited edition Limited Edition Print Edition of 125 Image size: H:42 cm x W:42 cm Complete Size of Unframed Work: H:42 cm x W:42 cm x D:0...

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...

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