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拍品專文
Marden regularly crossed the Adriatic Sea on the way to his house on the Greek island of Hydra. He states that Adriatics is about the difference in weight and density between sea and sky. It also suggests the meditative state induced by staring at the sea.
The combination of grids of different-sized rectangles in two of the prints is a variation of the light-dark contrast. Indeed, Marden perceives the grids as equivalent to colours. Each grid has a different value. When combined they create an ambiguous sense of space and depth, and appear to hover in front of the paper plane.
While the grids are plotted accurately, Marden made and retained a number of random marks. As in earlier grids he liked the way in which apparently mechanical production could be subverted by the human touch, whether through foul-biting or the impression of his sweater.
The last two prints were published in an edition of 35 because the plates broke down in printing, and only this number of complete portfolios were released. However both prints were numbered out of an edition of forty.
The combination of grids of different-sized rectangles in two of the prints is a variation of the light-dark contrast. Indeed, Marden perceives the grids as equivalent to colours. Each grid has a different value. When combined they create an ambiguous sense of space and depth, and appear to hover in front of the paper plane.
While the grids are plotted accurately, Marden made and retained a number of random marks. As in earlier grids he liked the way in which apparently mechanical production could be subverted by the human touch, whether through foul-biting or the impression of his sweater.
The last two prints were published in an edition of 35 because the plates broke down in printing, and only this number of complete portfolios were released. However both prints were numbered out of an edition of forty.