Allison Baker, Lady of the Mountain, 2022

Screenprint

Plate size: 17 5/8” x 24 3/4”

Paper size: 19 3/4" x 26 3/4"

Edition of 10 with 2 Artist’s Proofs and 2 Printer’s Proofs

Printed by Julia Samuels at Overpass Projects

Allison Baker, Palace, 2022

Screenprint

Plate size: 17 3/4" x 26 7/8”

Paper size: 19 3/4" x 26 3/4"

Edition of 10 with 2 Artist’s Proofs and 2 Printer’s Proofs

Printed by Julia Samuels at Overpass Projects

Allison Baker, Leaf Slug, 2022

Screenprint

Plate size: 17 3/4” x 26 1/8”

Paper size: 21” x 29 3/4”

Edition of 10 with 2 Artist’s Proofs and 2 Printer’s Proofs

Printed by Julia Samuels at Overpass Projects

David Barthold, Rhinoceros, 2016
Copperplate engraving
Plate size: 31 5/8” x 54 5/8”
Paper size: 36 1/8” x 58 5/8”
Edition of 10 with 2 Artist’s Proofs and 2 Printer’s Proofs
Printed by Julia Samuels at Overpass Projects

David Barthold, Rhinoceros (small head), 2014
Engraving
Plate size: 4 7/8” x 6 1/4”
Paper size: 9” x 10 1/4”
Edition of 50
Printed by Julia Samuels at Overpass Projects

David Barthold, Sabubu, 2012
Engraving
Plate size: 11 7/8” x 17 3/4”
Paper size: 16 1/4” x 22 1/4”
Edition of 30
Printed by Julia Samuels at Overpass Projects

David Barthold, Barus, 2012
Engraving
Plate Size: 11 3/4” x 17 3/4”
Paper size: 16 3/8” x 21 7/8”
Edition of 30
Printed by Julia Samuels at Overpass Projects

David Barthold, Suki, 2012
Engraving
Plate size: 11 3/4'“ x 17 3/4”
Paper size: 16 3/8” x 21 7/8”
Edition of 30 with 2 Artist’s Proofs and 2 Printer’s Proofs
Printed by Julia Samuels at Overpass Projects

Suki by David Barthold is an engraving portrait of a gorilla in captivity in the Bronx Zoo. Suki's somber expression relays to the viewer her inner sadness.

David Barthold, London Plane, 2017
Engraving
Plate size: 23 1/2” x 39 1/4”
Paper size: 27 3/4” x 44”
Edition of 30
Printed by Julia Samuels at Overpass Projects

London Plane is a monumental engraving by David Barthold completed in 2017.

David Barthold, Driggs Avenue Plane Tree, 2017
Engraving
Plate size: 8 3/4” x 11 7/8”
Paper size: 19 1/2” x 16”
Edition of 30
Printed by Julia Samuels at Overpass Projects

David Barthold, Elephant Skull, 2015
Engraving
Plate size: 3 7/8” x 5 7/8”
Paper size: 8 1/8” x 10 1/8”
Edition of 50
Printed by Julia Samuels at Overpass Projects

David Barthold, Crab Claw with Various Birds, 2016
Engraving
Plate size: 4” x 5 7/8”
Paper size: 8 5/8” x 11 5/8”
Edition of 30
Printed by Julia Samuels at Overpass Projects

Doug Bosley, Point Anomoly, 2015
Mezzotint
Plate size: 11 7/8” x 19 1/4”
Paper size: 23 1/4” x 16 3/8”
Edition of 30
Printed by Julia Samuels at Overpass Projects

After much calculation by the library and implementation by Collectors, the vacuum bubble has separated from our reality, forming a space-time bridge to the pocket of space that is the Anomaly. As the space that forms the anomaly expands, the bubble grows more stable as tidal forces diminish. Eventually, auxons are able to traverse the bridge and bring matter from the Anomaly back to the Library, where it is incorporated into novel calculations.

Doug Bosley, The Fold, 2016
Mezzotint
Plate size: 23 1/4” x 39 5/8”
Paper size: 28 1/8” x 43 3/4”
Edition of 30
Printed by Julia Samuels at Overpass Projects

A highly turbulent region inside the anomaly that forms in the space between the three principle loci. In a stable era the three loci perform a 2.53 million year circuit that folds and unfolds the space within the anomaly. As the Anomaly is freed from the constraints of space and time that exist in our current reality, we are able to witness the circuit in real time.

Doug Bosley, The Quantum Indeterminacy of Nature, 2017
Mezzotint
Plate size: 11 3/4” x 15 5/8”
Paper size: 16” x 20”
Edition of 30
Printed by Julia Samuels at Overpass Projects

Inside the Anomaly a chaotic state results from an accumulation of errors and miscalculations made worse by repeated traversal of the time-space bridge.
A single particle-computer has survived unstable conditions across multiple instances long enough to compute and implement a stable physical state. It is essentially protecting itself from the chaos and instability of the Anomaly by altering the physics of the environment around itself.

Katie Commodore, That One Time I Modeled Lingerie, 2017
Three color etching with photogravure and aquatint
Plate size: 12 3/4” x 15 7/8”
Paper size: 16 7/8” x 19 3/4”
Edition of 25 with 5 Artist’s Proofs and 5 Printer’s Proofs
Printed by Julia Samuels at Overpass Projects

Katie Commodore, Lace, 2004
Wood engraving
Image Size: 4” x 3”
Paper Size: 8” x 7 1/4”
Edition of 100
Printed by Julia Samuels

Eric Diehl, Stay Home, 2021
Three color etching with aquatint
Plate size: 13.5” x 16”
Paper size: 19.5” x 22.5”
Edition of 25 with 5 Artist's Proofs and 5 Printer's Proofs
Printed by Julia Samuels at Overpass Projects

This print requires our “Large Print” flat rate shipping.

Eric Diehl, Solar Eclipse at the Mall, 2018
Two color etching with line etch and aquatint
Plate size: 8 1/2” x 9 1/4”
Paper size: 15 1/8” x 13 3/8””
Edition of 25 with 5 Artist’s Proofs and 5 Printer’s Proofs
Printed by Julia Samuels at Overpass Press

Solar Eclipse at the Mall by Eric Diehl is a two color etching using aquatint roulette. The 8 1/2” x 9 1/4” image is printed on heavy duty archival cotton rag paper, and the edition size is limited to 25, with 5 artist's proofs and 5 printer's proofs.

Eric Diehl, The Palisades, 2018
Two color etching with line etch and aquatint
Plate size: 8 1/2” x 9 1/4”
Paper size: 14” x 12 5/8”
Edition of 25 with 5 Artist’s Proofs and 5 Printer’s Proofs
Printed by Julia Samuels at Overpass Press

“I came across this composition while on a lunch break to eat a burrito bowl at the Palisades Mall in West Nyack, NY. It’s design and simplicity fascinated me in the 90 degree heat. The heavy texture on the wall made me think about the materials used to build the variety of concrete, asphalt, steel, glass, and aluminum before me. It also reminded me of the geologic wonder nearby for which it’s named - the New Jersey Palisades - and the slowly developing scars along its cliffs.” - Eric Diehl

The Palisades by Eric Diehl is a two color etching using line etch and aquatint. The 9 1/2” x 9 1/4” image is printed on heavy duty archival cotton rag paper, and the edition size is limited to 25, with 5 artist's proofs and 5 printer's proofs.

Eric Diehl, Resting Snake, Suburbia, 2017
Three color etching with line etching and aquatint
Plate size: 17 7/8” x 15 7/8”
Paper size: 22” x 19”
Edition of 25 with 5 Artist's Proofs and 5 Printer's Proofs
Printed by Julia Samuels at Overpass Projects

Resting Snake, Suburbia by Eric Diehl is a three color etching using line etch and aquatint. The 17 7/8” x 15 7/8” image is printed on heavy duty archival cotton rag paper, and the edition size is limited to 25, with 5 artist's proofs and 5 printers' proofs.

This print requires our “Large Print” flat rate shipping.

Eric Diehl, Light Show, San Mateo, 2017
Two color etching with line etch and aquatint
Plate size: 9 3/4” x 11 1/2”
Paper size: 14” x 15 3/4”
Edition of 25 with 5 Artist’s Proofs and 5 Printer’s Proofs
Printed by Julia Samuels at Overpass Projects

Light Show, San Mateo by Eric Diehl is a two color etching using line etch and aquatint. The 9 3/4” x 11 1/2” image is printed on heavy duty archival cotton rag paper, and the edition size is limited to 25, with 5 artist's proofs and 5 printers' proofs.

Eric Diehl, Abandoned Mine, Great Basin, 2018
Etching with line etching and aquatint
Plate size: 7 1/2” x 5 1/2”
Paper size: 11” x 12”
Edition of 150 with 5 Artist’s Proofs and 5 Printer’s Proofs
Printed by Julia Samuels at Overpass Projects

“During a brief excursion out into the Great Basin of Nevada, I came over a ridge and spotted an abandoned copper mine. The silence of the detritus broke only to F14 fighter jets rumbling overhead and the wind whipping its way through a flapping sheet metal panel on one of the buildings. This small encampment held the dreams of dead men, a small scar of human memory in the vast, unfeeling desert. My companion and I trudged down the drainage to the mini town and felt the eerie stillness before nearly tripping over a rattlesnake and returning back over the ridge.” - Eric Diehl

Abandoned Mine, Great Basin by Eric Diehl is an etching using line etch and aquatint. The 7 1/2” x 5 1/2” image is printed on heavy duty archival cotton rag paper, and the edition size is limited to 150, with 5 artist's proofs and 5 printers' proofs.

Amber Heaton, Countdown, 2018
Woodcut and letterpress
Set of 10 at 10” x 10” each
Edition of 8
Printed by the artist

Amber Heaton, Phi (Red)
Two color etching with blue line etch and red aquatint
Plate size: 27 1/4” x 16 1/2”
Paper size: 35'“ x 27”
Edition of 10
Printed by Julia Samuels at Overpass Projects

“The composition of this print is based on the ratios of the Fibonacci sequence. When examined, these ratios can be reduced to the classic number that represents the Golden Ratio or Golden Mean, 1.618..., represented by the Greek letter Phi. For me, Phi represents a certain intrinsic equilibrium that can be found in the systems of nature. In this print, I wanted to couple the classic visual expression of the Fibonacci sequence, a set of squares spiraling from a central point in the ratio of the numbers, with a more optical line drawing. I was thinking about balance, symmetry, and structure, and wanted to created a synergistic effect between the layers.” -Amber Heaton

Amber Heaton, Phi (Blue)
Two color etching with red line etch and blue aquatint
Plate size: 27 1/4” x 16 1/2”
Paper size: 35'“ x 27”
Edition of 10
Printed by Julia Samuels at Overpass Projects

“The composition of this print is based on the ratios of the Fibonacci sequence. When examined, these ratios can be reduced to the classic number that represents the Golden Ratio or Golden Mean, 1.618..., represented by the Greek letter Phi. For me, Phi represents a certain intrinsic equilibrium that can be found in the systems of nature. In this print, I wanted to couple the classic visual expression of the Fibonacci sequence, a set of squares spiraling from a central point in the ratio of the numbers, with a more optical line drawing. I was thinking about balance, symmetry, and structure, and wanted to created a synergistic effect between the layers. “ - Amber Heaton

Amber Heaton, Phi (Yellow)
Two color etching with blue line etch and yellow aquatint
Plate size: 27 1/4” x 16 1/2”
Paper size: 35'“ x 27”
Edition of 10
Printed by Julia Samuels at Overpass Projects

“The composition of this print is based on the ratios of the Fibonacci sequence. When examined, these ratios can be reduced to the classic number that represents the Golden Ratio or Golden Mean, 1.618..., represented by the Greek letter Phi. For me, Phi represents a certain intrinsic equilibrium that can be found in the systems of nature. In this print, I wanted to couple the classic visual expression of the Fibonacci sequence, a set of squares spiraling from a central point in the ratio of the numbers, with a more optical line drawing. I was thinking about balance, symmetry, and structure, and wanted to created a synergistic effect between the layers.” - Amber Heaton

Amber Heaton, Flipped Square, 2017
Woodcut
Plate size: 10 1/2” x 13 1/4”
Edition of 10
Printed by the artist

Amber Heaton, Counterpoise, 2015
Woodcut
Plate size: 10” x 7 7/8”
Edition of 10

Amber Heaton, Fibonacci Field, 2015
Woodcut
Plate size: 7 3/4” x 10”
Edition of 4

Erik Hougen, Ends I, 2017
Photogravure
Plate size: 8 5/8” x 11 1/4”
Paper size: 11 3/4” x 14 1/4”
Edition of 25
Printed by Julia Samuels at Overpass Projects

Erik Hougen, Ends II, 2017
Photogravure
Plate size: 8 1/2” x 11”
Paper size: 11 3/4” x 14 1/4”
Edition of 25
Printed by Julia Samuels at Overpass Projects

Michael Menchaca, LA RAZA COSMICA 20XX
A suite of 16 screenprints
21” x 22 1/2”
Edition of 10 with 2 Artist’s Proofs and 2 Printer’s Proofs
Printed by Julia Samuels at Overpass Projects

“La Raza Cósmica 20XX presents a mythical re-interpretation of Jose Vasconcelos’ mestizo identity theory, La Raza Cósmica, using animal stand-ins to depict the intermixing between Latinx bodies. In his theory, Vasconcelos states that the Latin American intermixing of European DNA with Amerindian, Asian, and African DNA, created an ethnical fusion, a mestizáje, which he characterizes as the cosmic race. Pairing this theory with the Spanish Casta paintings, popular in 18th century Spanish colonial Mexico and instrumental in constructing racial identity through a visual index, I envision a new set of Castas where Silicon Valley technology has been integrated to intercommunicate between Latinx families.” - Michael Menchaca

Artist designed frames are wrapped with screen prints depicting various iterations of social media and tech company logos. This patterning highlights the artists’ concentration and concerns around our relationships with technology, the privacy and security of our personal data and surveillance capitalism as 21st Century’s newest form of human exploitation.

Michael Menchaca, 2018 Grand Migration Caravan, 2018
Screenprint
Plate size: 23 1/2” x 18 1/4”
Paper size: 28 1/4” x 21 1/8”
Edition of 25 with 5 Artist’s Proofs and 5 Printer’s Proofs
Printed By Julia Samuels at Overpass Projects

2018 Grand Migration Caravan is a screenprint. It is the artist’s graphical response to the migration crisis exacerbated by Trump’s anti-immigration rhetoric.

Michael Menchaca, America First, 2017
Screenprint
Plate size: 24 3/8” x 17 3/4”
Paper size: 28 1/2” x 21 3/4”
Edition of 25
Printed by Julia Samuels at Overpass Projects

Michael Menchaca, Hasta La Casta, 2017
7 layer screenprint
Plate size: 23 5/8” x 18 1/4”
Paper size: 27 3/4” x 21 1/4”
Edition of 25
Printed by Julia Samuels at Overpass Projects

“Hasta La Casta” is a phrase that is intentionally provocative and riffing-off of “Hasta La Vista”. “Casta” refers back to the Spanish Caste system that was implemented during colonial Spanish America which set up a socio-racial classification system or class hierarchy. The caste system is being recalled here to reflect the nature of the treatment of minority communities and specifically those undocumented citizens targeted by I.C.E.

Michael Menchaca, Gotta Catch ‘Em All!, 2016
Screenprint
Plate size: 24” x 17 1/2”
Paper size: 27 3/4” x 20 3/8”
Edition of 25
Printed by Julia Samuels at Overpass Projects

Sarah Nicole Phillips, Enclosed, 2017
Photogravure
Plate size: 7 1/2” x 6 3/8”
Paper size: 12” x 10 1/2”
Edition of 50 with 5 Artist’s Proofs and 5 Printer’s Proofs
Printed by Julia Samuels at Overpass Projects

Enclosed by Sarah Nicole Phillips is a photogravure made directly from the artist's collage. Sarah typically works making collages using the patterns she finds inside security envelopes. Photogravure is traditionally made by exposing an image (printed or drawn on translucent paper) into a photosensitive gelatin film. This film is applied to a copper plate and acts as a variable resist during the etching process. Here we have exposed the gelatin film directly from Sarah's collage without using any other mitigating photo-reproductive process. Enclosed is a 7"x8" plate printed on heavy duty archival cotton rag paper. The edition size is limited to 50 with 5 artist's proofs and 5 printer's proofs. Ships flat ready for framing, or can be framed in house at additional cost.

Dasha Shishkin, Cat Smoker, 2021
Monotype on copper
Plate Size: 17” x 14 3/8”
Paper Size: 30” x 22 3/4”
Printed by the artist at Overpass Projects