Cornucopia

Their own contributions anchor the selection. Abadal Lloret works largely in Japanese processes, printing through Mokulito and Mokuhanga onto handmade papers whose fiber and translucency become part of the picture. Her subjects return to landscape and the natural world, from the floating forms of Whales (2019) to the quiet northern scenes of Foster Lake I and Foster Lake II (2025), the stand of trees in Forest (2023), and Auca del Sol i de la Lluna I (2025), a grid of small circular images drawn from the traditional Catalan picture-story form. Calvert turns to the vessel, testing what each process can do, rendering a teapot in woodblock in Vessel Service (2025), working the same idea through copper plate etching and chine-collé in the two Vessel Form prints (2022), and shifting into multi-plate lithography in Subtle was Rarely an Option (2021). The two also print together in Holding Pattern (2025), a collaborative sublimation print on fabric more than two and a half meters wide.

Around this core they have assembled a group of prints from the iea Editions and Archive that opens the show into a community of practice, including Nicholas Ruth's Embrace, Janet Ballweg's X Marks the Spot, Rita MacDonald's Lapse and Grounding, Audra Woloweic's Waves, Aaron J Juarez's Lena Glitch Tone, Jenny Robinson's Counterpart I, Zihao Chen's Untitled, and Michael Kempson's India. Set side by side, these works make the show's quiet argument. Printmaking is rarely the work of a single hand. It is a network of techniques, papers, and artists who print with and for one another, and as curators Abadal Lloret and Calvert have gathered that abundance into one room.