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John Graham - Cave Canem, 1944

Night Light, 1989
Linoleum cut
19 1/2 x 14 inches


John Graham - Cave Canem, 1944

Veloxist “A”, 1990
Linoleum cut
24 1/2 x 15 3/4 inches


John Graham - Cave Canem, 1944

Boywinkle, 1998
Six-color lithograph
35 x 27 inches


John Graham - Cave Canem, 1944

Prince of Pine, 1995
Woodcut, linoleum cut, pochoir
38 1/4 x 26 inches


John Graham - Cave Canem, 1944

Infidel, 1999
Linoleum cut
33 x 16 inches

David Storey



1. Black and white, the binary heart.

2. Backwards facing, prints get made step by step, a giddy parade.

3. The Hard Work Part I
Working the plate or carving the block, gravure is slow—anvil music.

4. The Woodblock
What you cut away is always void, an open space. It is the leftovers,
the uncut partsnot touched by steel that become both tangible and
substantial, the image of things.

5. The Manyness
There is a relentless symmetry to making a print, it lacks any
dimension but doubling. The echo I am.

DAVID STOREY, originally from California, has lived and worked in New York since 1980. His work is represented in the Museum of Modern Art, New York, and the Boston Museum of Fine Art, among other institutions. Printers and publishers he has worked with include: Leslie Miller at The Grenfell Press, New York; Bill Lagatutta at the Tamarind Institute, New Mexico; and Maurice Sanchez of Derriere l’Etoile Studio, New York.

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