HENRIK SIMONSEN
Scarlet, 2014
108(w) x 88(h) cm
7 colour screenprint on Somerset 410gsm paper
Edition of 60
Image size 100 x 80 cm
£720.00
‘Scarlet’ is the perfect title for Henrik Simonsen’s most recent Eyestorm edition. Anyone who is familiar with Henrik’s work will know that first and foremost it’s an exploration and often a celebration of the natural world, but there’s also almost always a focus on colour which is usually vibrant and intense. This focus is heightened by the fact that the artist frequently references colour in his titles, especially in the case of his print works.
And it’s the immense colour that first hits you when looking at Scarlet, Simonsen’s fifth exclusive Eyestorm edition, his first being ‘Blue and Orange’ in 2011, followed by ‘Red With Dragonflies’ in 2012 (both of which have now sold out) and Amber Dusk and Gold Dusk in 2013. His chosen palette of dynamic turquoise paired with shades of explosive scarlet reds, pinks and oranges gives this work an energy that almost makes the shapes and forms jump from the surface of the paper.
Scarlet is more graphic than previous editions, especially when compared to works such as 2013’s sister prints Amber Dusk and Gold Dusk. With just seven layers of screenprinted ink, it displays the least amount of colours Simonsen has ever used in a print, giving it more of an abstract appearance, and, for me, it’s this quality that makes it so attractive. Despite this element of simplicity (although seven colours is still very much an average amount of layers for a screenprint), Scarlet is in no way void of structured marks and carefully drawn details. Beginning with the reds, each layer has been hand drawn by Simonsen before being made into the screens the inks are then pulled through to create a series of marks consisting of scratches, blotting and splatters which are built up to form the main structure of the piece. The turquoise layer is then printed second to last before the final screen of white spots, made to look like drips of paint, is printed to complete the work.
As Henrik now resides in Berlin, he worked on most of the true grain sheets in his studio before bringing them over to London to work for two days with Matthew at Jealous print studio. It was in the midst of Jealous’ expansion (they now occupy most of the building in Luke Street including a gallery on the ground floor), and Scarlet was the first edition to be printed on one of their brand new, large scale printing presses. There were a couple of teething issues to begin with, mainly to do with the set up of the new press, but once under way, all ran smoothly and we were able to make an almost completed proof before Henrik had to leave to go back home. A week later (while the Eyestorm team were in New York exhibiting at AAF) he returned to Shoreditch to complete the last two layers and the final proof was completed.
Something that stands out about Scarlet is its ‘landscape’ orientation, as opposed to the ‘portrait’ or square editions we’ve made with Henrik in the past. Scarlet is the first print in a while Simonsen has made in this format, which I think is surprising seeing as many of his original paintings take this form. I love the size as well; at 108 x 88 cm (42.5 x 34.7”), it’s large enough to fill a substantial space without being too imposing.
I asked Henrik for a few words about the piece now that it’s completed and this is what he said: “Scarlet to me is about the end of summer; the last growth of plants and trees before they reverse for autumn and winter. Leaves are bitten by insects and twisted and torn by the weather. It presents the plants at their most sculptural. The colours are often strangely intense and set off by a sky that gradually grows cooler in hue. This piece is about the end of summer but also a celebration of all its richness and intensity”.
Bright, uplifting and stunningly beautiful, Scarlet gained a fantastic response when we showed it earlier this month in Mexico and was equally well-received at Multiplied Art Fair at Christie’s in London. This print has everything going for it; I think it’s my favourite Simonsen edition to date and will be a popular one with both collectors of his work and new admirers alike.
More