Monica DeSalvo

"Gish Gallop", abstract, acrylic, monotype, red, blue, green, yellow, burlap

2022

Patty deGrandpre’s “Abandoned Texas, No Gas but Hot as Hell” is a 12.5 x 10.75 inch unique abstract landscape inkjet monoprint represented on 14 x 11 inch Awagami Bamboo paper embrac...

Patty deGrandpre’s “Scorched (with Adirondack chair) ” is an 11 x 8.875 inch unique inkjet monoprint represented on 16.5 x 11 inch Awagami Bamboo paper embracing both digital printma...

Patty deGrandpre’s abstract contemporary monoprint titled “Coppertone” incorporates cropped and deconstructed images of a 10 speed bike, a sandy coastline, a chaise lounge beach chai...

Cropped and deconstructed images of palm trees, an abandoned Hawaiian hotel facade, a polaroid camera, and an Aloha Airlines vintage trademark are represented on 14 x 11 inch Awagami Bamboo Japanese paper in Patty deGrandpre’s contemporary abstract monoprint titled “Hello & Goodbye (Flight to Hawaii)”. Paying homage to retro Hawaii, deGrandpre thoughtfully combines and layers of block printing ink and digital inkjet in hues of blue, yellow, green, sepia, pink and black to create this abstracted interpretation of a classic tropical Hawaiian landscape...

Patty deGrandpre’s “If You Cut Through Their Yard, You Can See the Small Green House” is an 11 x 14 inch ink monoprint represented on 19 x 13 inch Awagami Washi thin paper embracing ...

Patty deGrandpre’s “Are We There Yet? (a bit of Colorado & a lot of Texas)” is a 4.5 x 14.375 inch unique abstract inkjet print represented on 11 x 16.5 inch Awagami Bamboo Japanese paper embracing both the art of digital printmaking, minimalism, and creative photography. A green hue gradates over a photo of a snow capped mountain range taken along the iconic Independence Pass in Colorado and begins the progression of images in this striking abstract landscape. A thin dark pink bar sits horizontally within the snow complimenting the format of the artwork. Two distinct depictions of blue cactus...

Michael Heizer III-8 (two unique works), 1983 Monoprint on two individual sheets of white handmade TGL paper, hand colored with colored pencils, paint sticks, and liquid and spray ac...

Gelatin monotype with acrylic paint on white BFK Rives Printmaking Paper. Approx. image size: 3" x 9" Paper size: 10" x 14" At the core of the dialogue between the artist and the ...

Mixed media composite (acrylics, sumi ink and pencil on mylar, fused with Monotype mounted with white thread stitching) on white BFK Rives Printmaking Paper Paper: 15" x 19" At the...

"Cabin I" is a Bauhaus-inspired monotype and collage (work on paper) reminiscent of the aesthetic of Le Corbusier. It is part of Bouton’s "Habitat and Urban Matter" series, which is inspired by the straight lines of modernist architecture and hard-edged geometrical forms of the urban environment. Bouton, a French printmaker from Paris who has also lived in London, Myanmar, Ivory Coast, Senegal, and Turkey, creates work that responds to her experiences during her travels and the cultures she encountered. Since settling in the Philadelphia area, she has been inspired by the urbanism of the city, whether a sleek, new apartment block, an abandoned warehouse, or a half-demolished home. Her latest works are interpretations of these buildings, with both broad street views and focused details from single structures –- the pattern of the skyline, a patchwork of broken windows, an industrial color palette. She is drawn to the history of the spaces and lives lived within these buildings, as well as their intrinsic beauty of the structures, whether that beauty emerges from design or degradation, or some combination of the two. Signed and dated. Bouton is a French artist living and working in the Philadelphia area whose boundary-pushing printmaking and paper works exhibit influence from living and working in international cities across the globe. Bouton earned her BFA in Painting and Printmaking and her MFA in Arts and Textile Design from the prestigious ESSAA Duperré in Paris, France. Since leaving Paris 15 years ago, Bouton has lived and exhibited her work internationally in Paris (France), London (UK), Philadelphia (USA), Rangoon (Burma/Myanmar), Abidjan (Ivory Coast), Dakar (Senegal) and Istanbul (Turkey). She has presented solo exhibitions at the Biennale de l’Art Africain...

Artist: Kazuhide Yamazaki (Japanese-American, 1951-) Title: "A Glass of Red Wine" *Signed and dated by Yamazaki in pencil lower right Year: 1981 Medium: Original Monotype on Arches paper Limited edition: (1/1) Printer: Perma Press, New York, NY Publisher: Perma Press, New York, NY Sheet size: 30" x 22.5" Image size: 24" x 18" Condition: Never framed, has been professionally stored away for decades. In mint condition Rare Notes: Provenance: acquired directly from the publisher Perma Press, New York, NY in the 1980's. Titled lower center and the medium inscribed lower left by Yamazaki in pencil. Perma Press chop mark/blind stamp lower left. Arches France watermark lower right. Kazuhide Yamazaki was commissioned to create elaborate and colorful stage artwork by The Rolling Stones for their 1981 American tour from September 25 - December 19, 1981, (see final photo for reference). Also known as the most painterly method among the printmaking techniques , a monotype is essentially a printed painting. The characteristic of this method is that no two prints are alike; although images can be similar, editioning is not possible. Biography: Kazuhide Yamazaki is a Japanese born artist who studied printmaking in San Francisco now living in New York City. The artist is best known for his work for The Rolling Stones. On their 1981 American tour, he designed the sets, tour poster, t-shirts, and record cover of the tour album. His unique hand painted monotypes can be found in many important collections including The Brooklyn Museum and the J.P. Morgan Chase Art Collection. From an article by Rolling Stone magazine on Yamazaki and his artistic contribution to The Rolling Stones' 1981 Tour: "Designed by Japanese artist Kazuhide Yamazaki, the stage was the largest mobile concert set ever built: sixty-four feet wide, with eighty-foot ramps stretching out from the right and left sides, and another 150 feet of fluttering silk strips streaming into the bleachers. The massive scrims surrounding the stage — painted with post-modernist pastel...

Artist: Kazuhide Yamazaki (Japanese-American, 1951-) Title: "Round Table" *Signed and dated by Yamazaki in pencil lower right Year: 1981 Medium: Original Monotype on Arches paper Limited edition: (1/1) Printer: Perma Press, New York, NY Publisher: Perma Press, New York, NY Sheet size: 30" x 22.5" Image size: 24" x 18" Condition: Never framed, has been professionally stored away for decades. In mint condition Rare Notes: Provenance: acquired directly from the publisher Perma Press, New York, NY in the 1980's. Titled lower center and the medium inscribed lower left by Yamazaki in pencil. Perma Press chop mark/blind stamp lower left. Arches France watermark lower right. Kazuhide Yamazaki was commissioned to create elaborate and colorful stage artwork by The Rolling Stones for their 1981 American tour from September 25 - December 19, 1981, (see final photo for reference). Also known as the most painterly method among the printmaking techniques , a monotype is essentially a printed painting. The characteristic of this method is that no two prints are alike; although images can be similar, editioning is not possible. Biography: Kazuhide Yamazaki is a Japanese born artist who studied printmaking in San Francisco now living in New York City. The artist is best known for his work for The Rolling Stones. On their 1981 American tour, he designed the sets, tour poster, t-shirts, and record cover of the tour album. His unique hand painted monotypes can be found in many important collections including The Brooklyn Museum and the J.P. Morgan Chase Art Collection. From an article by Rolling Stone magazine on Yamazaki and his artistic contribution to The Rolling Stones' 1981 Tour: "Designed by Japanese artist Kazuhide Yamazaki, the stage was the largest mobile concert set ever built: sixty-four feet wide, with eighty-foot ramps stretching out from the right and left sides, and another 150 feet of fluttering silk strips streaming into the bleachers. The massive scrims surrounding the stage — painted with post-modernist pastel...