James Surls, “Giver”, (The Flatbed Suite), chine collé soft-ground etching, images 12” x 12”, paper 20 1/2” x 20”, edtion of 21, 1999.

Flatbed Press has long welcomed sculptors into the collaborative environment of the print studio, where ideas born in three dimensions are reimagined through the language of printmaking. Rather than serving as reproductions of sculpture, these prints become independent works that explore line, texture, pressure, surface, and the physical act of making an impression.

The Sculptor's Imprint: Part II continues this exploration through the work of five distinguished artists whose sculptural practices span monumentality, intimacy, narrative, and poetic observation. Sharon Kopriva, James Surls, Sherry Owens, Liliana Porter, and David Everett each bring a distinct sensibility to the print studio, demonstrating how sculptural thinking can transform—and be transformed by—the collaborative process of printmaking.

Whether rooted in the natural world, the human figure, memory, or conceptual inquiry, these works reveal how the printed image extends the artist's sculptural vocabulary. In some cases, the physical gesture of carving or constructing finds its parallel in etched lines, lithographic marks, or layered surfaces. In others, printmaking offers new possibilities for scale, repetition, and experimentation unavailable in traditional sculptural media.

Together, these prints affirm that sculpture is not confined to volume alone. Through collaboration and the unique processes of printmaking, these artists create impressions that are both tactile and conceptual—works that carry the weight of sculptural thought onto the printed plane.